WESTERN  GALLERYofART 


CATALOGUE 

OF 

REPRODUCTIONS  OF  WORKS  OF  ART 

IN  THE 

WESTERN  GALLERY  OF  ART 

KANSAS  CITY,  MO. 
PAINTINGS— SCULPTURE— PHOTOGRAPHS 

ILLUSTRATED 

F^IRST  KDITION 
189r 

KANSAS  CITY  ART  ASSOCIATION 


KANSAS  CITY,  MO.  I 
LAWTON  &.  BURNAP,  PRINTERS  AND  STATIONERS 

1897 


The  Kansas  City  Art  Association  was  incorporated  under  the  laws 
of  the  State  of  Missouri,  July,  1887;  hav^ing  as  its  object  the  promotion 
of  artistic  education  by  means  of  exhibitions  of  pictures,  lectures, 
a  school  and  a  museum  of  fine  arts.  Its  first  collection  was  destroyed 
by  fire  in  January,  1893. 


THE  PURPOSE  OF  THE  WESTERN  GALLERY  OF  ART* 


HTHE  PURPOSE  which  led  to  the  establishment  of  The 
*  Western  Gallery  of  Art,  found  its  impulse  in  the 
belief  that  a  comprehension  of  the  grandeur  of  the  Old 
Masters  and  an  appreciation  of  the  surpassing  excellence  of 
their  work,  is  the  essential  foundation  of  a  discriminating 
love  for  art.  The  works  of  the  great  masters  of  painting  and 
sculpture — the  works  which  have  endured  in  unquestioned 
supremacy  through  centuries  of  high  and  well-endowed 
endeavor — are  priceless,  and  to  all  except  the  fortunate  few, 
inaccessible.  Even  the  traveler  can  hope  to  see  but  few  of 
them,  unless  he  undertakes  an  arduous  and  expensive  pilgrim- 
age ;  for  the  world's  great  pictures  are  widely  separated. 

The  aim  of  The  Western  Gallery  op  Art  is  to  set  forth 
an  adequate  impression  of  the  character  and  power  of  those 
masterpieces  ;  and  with  that  end  in  view,  it  has  secured  as  its 
first  equipment,  faithful  copies  of  twenty  great  pictures, 
painted  with  skill,  appreciation  and  reverent  patience,  by  men 
who  were  themselves  painters  of  distinction.  The  perfection 
with  which  the  character  and  quality  of  the  drawing  have 
been  reproduced,  may  be  judged  by  comparing  the  painted 
copies  with  photographs  made  directly  from  the  originals. 
The  coloring  has  been  reproduced  with  equal  fidelity.  The 
pictures  exhibited  were  not  hastily  executed  to  meet  the 
needs  of  the  Gallery ;  they  were  carefully  selected  under  the 
direction  of  artists  and  connoisseurs,  as  the  best  existing 
copies  of  the  originals  to  be  found,  in  all  Europe.  The 
reproduction  of  the  Sistine  Madonna,  of  Raphael,  for  example, 
is  celebrated  as  the  best  copy  ever  made  of  that  painting. 
That  of  the  Madonna  Enthroned,  of  Bellini,  is  itself  more  than 
a  century  old. 

Supplementing  the  twenty  paintings  are  a  collection  of 
casts  from  antique  and  renaissance  sculpture,  and  some  five 
hundred  photographs,  of  serviceable  size  and  fine  quality,  of 
pictures  by  old  masters ;  the  collection  being  especially  com- 
plete in  respect  of  Rembrandt,  Velasquez,  Botticelli  and  Leo- 
nardo da  Vinci,  nearly  all  of  whose  important  works  are 
included. 

Since  the  passing  of  the  mighty  ones  of  art,  genius  has 
arisen  and  found  manifold  expression  in  the  field  that  they 
illuminated,  and  there  is  no  lack  of  modern  achievements  that 
worthily  interest  the  judicious.  But  the  founders  of  The 
Western  Gallery  of  Art,  believing  that  to  know  the  Old 
Masters  is  to  possess  the  touchstone  to  enjoyment  in  the 
fullest,  and  to  intelligently  and  with  appreciative  selection, 
know  all  art,  including  the  worthy  works  of  later  days  and  the 
untried  offerings  of  contemporary  painters,  feel  that  they  have 
not  erred  in  the  plan  upon  which  the  Gallery  has  been  inaug- 
urated and  upon  which  it  may  be  further  extended. 


This  collection  consists  of  twenty  oil  paintings,  copies  of 
masterpieces  by  Raphael,  AnHrea  del  Sarto,  Giorgione, 
Botticelli,  Titian,  Carlo  Dolci,  Fillippo  Lippi,  Fra  Angelico, 
Bellini,  Rembrandt,  Rubens,  Van  Dyck,  Velasquez,  Murillo, 
Paul  Veronese  and  Susterman. 

These  are  the  work  of  the  best  European  copyists  and 
are  from  the  gallery  of  L.  Pisani,  Florence.  They  are  of  the 
same  size  as  the  originals  and,  with  the  exception  of  the 
Sistine  Madonna,  are  framed  identically.  Casts  of  sculpture 
and  five  hundred  framed  photographs  from  the  studios 
of  Braun  &  Co.,  of  Paris,  Alinari  of  Florence,  and  the  "  Libreria 
Spithover,"  of  Rome,  complete  the  collection  in  its  present 
form. 

Presented  to  the  Kansas  City  Art  Association,  for  the  City, 
by  Mr.  Wm.  R.  Nelson,  in  1896,  the  essential  conditions  being 
that  all  fees  for  admission  shall  be  devoted  to  the  purchase  of 
additions  to  the  collection,  and  that  the  gallery  shall  be  open 
on  Sundays. 

Opened  to  the  public  February  23rd,  1897. 


CATALOGUE  OF  NUMBERS. 


No.  Page, 

1  11 

2  46 

3  16 

4  47 

5  10 

6.   36 

7-8  27 

9  32 

10  12 

11  49 

12  30 

13  50 

14  15 

15  32 

16  41 

17  71 

18  65 

19  43 

20  46 

50  83 

51-52  82 

53-56  81 

57  80 

58  77 

59  81 

60  83 

61  78 

62-63  81 

64  82 

65  83 

66  81 

67  83 

68  81 

69  82 

70  81 

71-72  83 

73  77 

74-76  83 

77  81 

78  82 
150-166  .'.20-21 

167  74 

168-169   72 

170  ..26 

171  71 


No. 

Page. 

17o 

17  4: 

A  K 

1  T  ^ 

X  t  «J 

.  .  .  .  tto 

1  TT- 

-1 

4.R 

179 

. ...  44 

loU 

•70 

JL  O  X 

4.1=; 

A. 

4-7 

A  O 

lob 

Jl(j  t 

fiQ 

188- 

-189 

190- 

-295 

50-56 

-o5o  . 

. DO-70 

357 

71 

358 

362 

37 

363 

366  . 

1  A 

. ... 14 

367 

368 

369 

370-373 

85 

374 

375 

12 

376 

4^ 

377 

31 

378 

23 

379 

380 

381 

382 

383 

384 

1  A 

385 

386 

-l  1 

387- 

389 

QQ 

390 

9 

391 

13 

392 

41 

393 

36 

394 

10 

395 

39 

396 

397 

23 

398 

399 

1  n 

400 

402 

30 

403 

412  . 

.27-29 

413- 

451  . 

.16-19 

452- 

454 

, ,, .20 

455 

,  42 

456 

460 

....33 

No.  Page. 
461-463  .  24-25 

464-465   75 

466   72 

467  75 

468-469   74 

470-472   73 

473-475  34 

476  25 

477  41 

478  42 

479-487  76 

488-490  39 

491-496  ..37-38 

497  43 

498-524  ..34-36 

525-554  25 

555  85 

556-557   30 

558-559  70 

560-566   57 

567-569  46 

570-573   47 

574-608  ..62-63 

609  58 

610  64 

611  ..47 

612  64 

613-6*7  ..60-61 

628  59 

629  58 

630  48 

631   61 

632  64 

633  45 

634-636  48 

637  64 

638  63 

639  57 

640-641   59 

642  49 

643-644  58 

645  45 

646  61 

647  59 

648-651  ....61 


No.  Page. 

652-653   57 

654  85 

655-657   13 

658  40 

659  26 

660  38 

661-665   41 

666  42 

667  85 

668  39 

669-672  19 

673  40 

674-675   14 

676  24 

677  13 

678-680  29 

681  10 

682  13 

683-684  85 


No.  Page. 

685  43 

686-688   23 

689  39 

690-710.. 21-23 

711-712  85 

713  43 

714  40 

715  14 

716.  43 

717  85 

718  43 

719  38 

720..  43 

721  42 

722    9 

723  85 

724  73 

725  74 

726  71 


No.  Page. 

727  74 

728-730  73 

731-734  72 

735-736  .  ...75 

737  57 

738  23 

739  85 

740  40 

741-742   85 

743  29 

744-751   84 

752  39-84 

753  84 

754  46 

755  62 

756  58 

757  74 

758  39 

759  64 


LIST  OF  ILLUSTRATIONS. 

Head  of  Old  Monk  (Velasquez)  Frontispiece 

Bettveen  Pages 

Portrait  of  Philip  IV  ( Velasquez)  76-77 

The  Forge  of  Vulcan  '{Velasquez)  52-53 

Madonna  (Frari)  (Bellini)  12-13 

Mona  Lisa  (da  Vinci)  12-13 

The  Magnificat  (Botticelli)  12-13 

Allegory  of  Calumny  (Botticelli)  44-45 

Sis  tine  Madonna  (Raphael)  20-21 

Madonna  della  Sedia  (Raphael)  20-21 

Sacred  and  Profane  Love  (Titian)  44-45 

Portrait  of  Unknown  Man  (Titian)  20-21 

Madonna  of  the  Harpies  (Del  Sarto)  28-29 

The  Concert  (Giorgione)  28-29 

Children  of  Charles  I  (Van  Dyck)  28-29 

Madonna  of  the  Star  (Fra  Angelico)  36-37 

Angel  Gabriel  (Carlo  Dolci)  36-37 

Madonna  and  Child  (Filippo  Lippi)  36-37 

Marriage  of  St.  Catherine  (Paul  Veronese)  44-45 

Danae  ( Correggio )  52-53 

The  Havoc  of  War  (Rubens)   .52-53 

The  Tranquil  Sea  (Rembrandt)  60-61 

Abraham  at  Table  with  the  Angels  (Rembrandt)  60-61 

Portrait  of  Unknown  Man  (Rembrandt)  68-69 

Madonna  and  Child  (Murillo)  68-69 

Portrait  of  Prince  of  Denmark  . .  .  (Susterman)  76-77 

Plates  engraved  by  Teachenor-Bartberger  Eng.  Co.,  Kansas  City. 


HEAD  OF  OLD  MONK 


IFJ.ASQVEZ,. 


CATALOGUE 

ARRANGED  CHRONOLOGICALLY  AND  ACCORDING  TO  SCHOOLS. 

Italian  School. 


GIOTTO  (1276-1336) 

"This  first  of  the  great  personalities  in  Florentine  painting, 
was  renowned  as  architect  and  sculptor.  With  the  simplest 
means  ;  with  almost  rudimentary  light  and  shade  and  func- 
tional line,  he  contrives  to  render  only  those  outlines  and  those 
variations  of  light  and  shade  that  we  must  isolate  for  special 
attention,  to  realize  the  whole."  (Berenson.) 

Photograph  from  Painting. 

No.  390    Portrait  of  Dante.  [Florence] 

This  portrait  of  his  dearest  friend,  painted  on  the  wall  of 
the  palace  of  the  Podesta  at  Florence,  had  been  covered  with 
whitewash  during  a  renovating  of  the  building.  It  is  one  of 
his  most  famous  works  and  is  full  of  wondrous  power." 

(Clement) 


FABRIANO  (Gentile)  (1360-1440) 

"A  naive  and  spontaneous  way  of  treating  real  life,  a 
joyous,  noble  spirit  is  expressed  in  his  works.  His  color  is 
harmonious,  but  almost  devoid  of  shadow." 

Photograph  from  Drawing. 
No.  722    Figure  of  a  nude  young  man. 


FRA  ANGELICO(Giovanni  Fiesole)(138M455) 

"  A  celebrated  painter  of  religious  subjects  and  a  Domini- 
can monk  of  saintly  life,  which  was  reflected  in  his  pictures. 
His  style  was  based  on  the  traditions  of  Giotto's  school,  but 
he  has  a  keener  feeling  for  nature.   His  knowledge  of  figure 


10 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


is  inferior,  but  his  drawing  is  remarkable  for  distinction  and 
sense  of  beauty  ;  it  is  rarely  crude,  and  only  stiff  or  awkward 
where  he  attempts  strong  dramatic  incidents.  His  color  was 
pure  and  tender.  He  was  an  innovator  in  the  increased  full- 
ness and  variety  of  expression  in  his  heads." 

Oil  Painting. 

No.  5    Madonna  of  the  Star.       (Copy)  [Florence] 
In  a  gilt  tabernacle. 

Photograph  prom  Painting. 
No.  394    The  Crowning  of  the  Virgin.  [Florence.] 


MASACCIO  (Tomaso  Guidi)  (1402-1429) 

He  surpassed  all  his  predecessors  in  drawing  and  color- 
ing and  made  advances  in  atmospheric  perspective.  His  most 
prominent  device  for  giving  roundness  to  his  figures  was  a 
somewhat  mannered  way  of  putting  the  high  lights  upon  the 
edges,  but  he  led  the  way  in  representing  the  objects  of  nature 
correctly  and  showed  a  degree  of  appreciation  of  nude  form, 
such  as  was,  at  that  date,  unexampled  in  painting.  ^• 

Photograph  from  Drawing. 
No.  681.    A  Young  Man  Sitting,  [Windsor] 


LIPPI  (Filippino)  (141^-1505) 

One  of  the  greatest  artists  of  his  century;  noted  for  his  love 
of  ornamentation  of  every  kind.  He  excelled  in  the  fine 
modeling  of  his  figures,  and  was  a  worthy  successor  of  Masaccio. 

Photographs  from  Paintings. 
No.  383     Vision  of  St.  Bernard.  [Florence] 
No.  384    Virgin  and  Child  with  Angels.  [Florence] 


LIPPI  (Fra  Filippo)  (1412-1469) 

Follower  of  Masaccio,  influenced  by  Fra  Angelico.  He 
excelled  in  the  dignity  of  his  men,  the  sweetness  of  his  women, 
and  the  pleasing  adaptation  of  the  costume  of  the  period. 


WESTERN  GAIiliERY  OF  ART,  KANSAS  CITY,  MO. 


11 


Oil  Painting. 

No.  1    Madonna  and  Child,    (Copy)  [Florence] 

His  finest  easel  picture,  painted  for  the  private  Chapel  of 
the  Medici.  Two  boy  angels  lift  the  Holy  Child  towards  His 
mother,  who  folds  her  hands  in  adoration.  The  background 
is  a  window,  through  which  is  seen  a  crude  landscape. 

Photographs  prom  Paintings. 

No.  385    The  Virgin  and  the  Infant  Jesus, 

[Florence] 

No.  386    The  Virgin  adoring  the  Infant  Jesus. 

[Florence] 


BELLINI  (Gentile)  (1421-1501) 

One  of  the  two  brothers  who  laid  the  foundation  of  the 
Venetian  school,  most  of  its  great  masters  having  been  their 
pupils. 

Photograph  from  Painting. 

No.  369    Procession  in  the  Place  of  St,  Mark, 

[Venice] 

The  subject  represents  a  procession  in  which  the  sacred 
relic  (a  piece  of  the  true  cross)  is  being  carried  across  the 
piazzi.  It  presents  a  vivid  picture  of  Venetian  life,  and  is  a 
remarkable  example  of  good  arrangement,  conveying  the  effect 
of  movement  without  confusion.  Said  to  be  the  greatest 
extant  work  of  the  Venetian  school  previous  to  Titian. 


BELLINI  (Giovanni)  1422-1616) 

Founder  of  the  Venetian  School  and  instructor  of  Titian. 
His  culminating  excellence  lies  in  his  power  of  combining 
tones  of  deep,  rich  coloring,  giving  them  a  crystal  clearness. 
Bellini's  pictures,  before  he  learned  to  work  in  oil,  were  char- 
acterized by  elegance  and  sweetness,  but  dry  and  timid;  those 
of  his  later  period  added  the  brilliancy  made  possible  through 
the  new  medium. 


12 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


Oil  Painting. 

No.  10    Madonna  Enthroned    (Copy)  [Venice] 

(Th^s  copy  is  on  wood  and  over  100  years  old.) 

"  A  masterpiece  of  Bellini's  best  period,  bearing  the  date 
1488.  It  forms  the  altar-piece  of  the  Sacristy  of  the  Frari 
Church  and  is  composed  of  three  panels,  separated  one  from 
another  by  the  frame  work.  The  central  panel,  representing 
the  Madonna  and  Child  enthroned  under  a  canopy,  is  higher 
than  the  two  side  ones  by  some  thirty  inches.  The  side  panels 
represents  four  evangelists  standing,  two  on  each  panel.  The 
beautiful  Renaissance  frame  forms  part  of  the  picture  and  is 
repeated  in  it.  The  picture  is  rich  and  mellow  in  coloring. 
Above  the  Madonna  is  a  dome  filling  the  arch.  This  is  heaven 
opened,  and  is  formed  of  golden  clouds,  parting  to  each  side, 
disclosing  a  glory  of  light  and  seeming  to  glow  with  a  light  of 
it's  own;  an  effect  obtained,  perhaps,  by  glazing  upon  a  gold 
ground.  The  drapery  is  of  a  rich,  harmonious  blue,  the  dark 
folds  of  which  are  intensely  deep.  The  underrobe  is  red,  simi- 
lar in  tone  to  the  background,  but  brighter.  The  background 
behind  the  Madonna  and  below  the  warm  marble  cornice,  is 
of  a  deep,  rich  carmine,  burning  like  a  ruby.  The  throne  is 
of  a  reddish  brown  marble,  glowing  golden  on  the  lighted  side, 
while  the  clouds  and  veins  in  the  marble  give  added  richness 
of  color.  It  is  one  of  the  greatest  and  most  elegant  emana- 
tions of  Bellini's  art.  The  Virgin  beautiful  and  pensive,  the 
Child  buoyant  and  resolute,  the  singing  angels  pretty  in  their 
crowns  of  leaves."    (jL.  Cole.) 

Photographs  from  Paintings. 

No.  374    Portrait  of  a  Doge  {Leonardo  Loredano). 

[London] 

^  *'It  is  a  striking  example  of  the  skill  with  which  Bellini 
seized  and  embellished  nature,  reproducing  the  flexibility  of 
flesh  in  a  soft  and  fused  golden  tone,  and  ventured  at  the  same 
time  into  every  line  of  detail. 

No.  375    Madonna  Enthroned.  [Venice] 

Painted  when  Bellini  was  nearly  eighty  years  old.  The 
Madonna  and  Child  are  seated  on  a  bright  canopied  throne. 
On  one  of  the  steps  sits  a  lovely  little  angel,  in  dark  green  and 
yellow  robes,  playing  a  viol.  St.  Lucia,  at  the  right,  shows  an 
exquisite  face  profile,  quite  individual  and  portrait  like.  She  is 


MA  D  ONNA  {FRA  R  I)  -  BE  LL  INI. 


MOXA  LISA— LEONARDO  DA  VINCI. 


THE  MA  GNIFICA  T—BO  TTICELLI. 


WESTERN  GAIiLERT  OF  ART,  KANSAS  CITY,  MO. 


13 


dressed  in  a  gray  blue  and  red  drapery.  St.  Catherine  is 
opposed  to  her  formally  in  the  composition  and  in  the  arrange- 
ment of  color,  being  a  dark  mass.  SS.  Peter  and  Jerome  are 
in  similar  manner  opposed  to  each  other  ;  the  draperies  of  the 
two  are  large  and  carefully  composed  and  contrasted,  St. 
Peter's  gathered  upon  his  arm,  like  a  toga,  while  the  folds  of 
St.  Jerome's  fall  from  the  waist  in  straight  lines.    {T,  Cole.) 

From  Drawings. 

No.  655    Portrait  of  a  man,  [Florence] 

No.  656    Head  of  a  man,  [Florence] 

No.  657    Head  of  a  young  hoy,  [Venice] 


MANTEGNA  (Andrea)  (1430-1506) 

Adopted  by  Squar clone.  ''Doubtless  the  greatest  painter 
of  northern  Italy  in  his  day.  His  influence  was  through  the 
whole  country.  His  works  are  full  of  meaning ;  his  inventive 
power  large.  His  foreshortening,  perspective,  chiaroscuro  and 
color  were  excellent,  but  his  figures  are  too  portrait  like."  He 
was  also  a  fine  engraver. 

Photograph  from  Drawing. 

No.  682    Hercules  between  Virtue  and  Vice, 

[London] 


VERROCCHIO  (Andrea)  (1432-1488) 

He  was  a  goldsmith,  sculptor,  and  worker  in  bronze,  as 
well  as  a  painter,  musician  and  mathematician,  and  strongly 
influenced  da  Vinci.    (See  Sculptures  Nos.  64  and  74.) 

Photograph  from  Painting. 

No.  391    The  Baptism  of  Christ,         '  [Florence] 

noble  work,  though  the  faces   are  those  of  two 
peasants." 

From  Drawing. 


No.  677    Head  of  an  angel. 


[Florence] 


14  BEPBODtJCTIONS  Ot  WORKS  OF  ART  IN  THE 

PERUGINO  (Pietro  Vannuci)  (1440-1524) 

After  enjoying  great  fame  and  success,  he  had  to  make 
way,  in  his  old  age,  to  younger  men,  and  is  now  known  chiefly  as 
the  master  of  Raphael.  He  is  not  inferior  to  the  best  of  the 
Florentines  in  composition,  and  is  even  more  concentrated  m 
aim  and  simpler  than  most  of  them.  The  type  of  face  by 
which  he  is  known  is  the  high  forehead,  delicate  mouth,  and 
gentle  expression."    (W.  <fc  W.) 

Photographs  from  Paintings. 

No.  363    The  Assumption.  [Florence] 

No.  364    The  Crucifixion.  [Florence] 

No.  365    The  Charge  to  Peter.  [Rome] 

No.  366    The  Virgin  and  the  Infant.  [Paris] 

Photograph  from  Drawings. 

No*  674    Detail  from  the  Entombment.'''^ 

[Florence] 

No.  675    Head  of  a  woman.  [Windsor] 


LUINI  (Bernardino)  (Lovini)  (1460-1530) 

"  One  of  da  Vinci's  most  successful  followers.  His  color- 
ing was  clear  and  warm  and  his  figures  beautiful." 

Photograph  from  Drawing. 

No.  715    Bust  of  a  woman  turned  to  right. 


BOTTICELLI  SANDRO  (Alessandro  Filipepi) 

(1449-1510) 

One  of  the  most  original  and  fascinating  painters  of  the 
school  of  Florence.  He  was  a  restless  and  wayward  child,  who 
did  not  take  kindly  to  any  sort  of  schooling,  and  was  placed 
with  a  goldsmith  named  Botticelli,  to  learn  the  trade.  Thus, 
his  first  training,  like  that  of  many  of  the  best  artists  of  the 


WESTERN  GALLERY  OE  ART,  KANSAS  CITY,  MO.  15 

time,  was  in  metal  working.  He  showed  talent  and  fancy  and 
was  presently  transferred  to  the  school  of  Lippo  Lippi,  then  in 
the  height  of  his  practice  and  reputation  as  a  painter.  All  his 
creations  are  colored  with  an  expression  of  eager  and  wistful 
melancholy,  of  which  it  is  hard  to  penetrate  the  sense  and 
impossible  to  escape  the  spell.  Their  countenances  are  of  a 
kindred  type  and  have  upon  them  the  pale  cast  of  the  same 
nameless  passion.  He  was  an  artist  of  immense  invention  and 
industry,  and  in  the  early  part  of  his  career  painted  in  oil  and 
tempera  a  vast  number  of  pictures,  both  in  the  classical  and 
Christian  vein.  His  dejected  types  have  an  infinite  beauty  of 
their  own,  and  though  his  figures  are  not  designed  with  per- 
fect science  and  have  some  tendency  to  attenuation  and  to 
coarseness  of  the  hands  and  feet,  they  are  nevertheless  drawn 
with  a  determination  and  finish  in  the  contours,  and  modeled 
with  a  fullness  and  delicacy  of  relief  which  belong  only  to  the 
most  accomplished  art.  Of  all  his  school,  Botticelli  is  the 
richest  and  most  fanciful  colorist,  often  using  gold  to  enrich 
the  lights  on  hair,  tissues  and  foliage,  with  a  very  exquisite 
effect.  This  may  be  the  consequence  of  his  early  goldsmith's 
work,  as  is,  more  certainly,  his  minute  solicitude  in  all  the 
accessory  details  and  ornaments  of  his  compositions.  The 
patterned  and  embroidered  dresses,  the  scarves  and  headgear 
of  his  figures  are  often  treated  with  an  incomparable  inven- 
tion and  delicacy.  No  artist  has  ever  painted  flowers  with  a 
more  inspired  affection,  especially  roses,  with  which  he 
was  wont  to  fill  the  backgrounds  of  his  pictures.  A  large 
number  of  his  devotional  pieces  are  in  circular  form.  He  is 
superior  in  the  touching  and  engaging  character  of  the  child- 
ren who  minister,  in  the  form  of  angels,  to  his  sacred  person- 
ages ;  and  designed  choirs  of  angels  with  a  variety  of  grouping 
and  a  graceful  fire  of  movement  that  was  a  new  thing  in  his  art. 
In  the  Uffizi  is  an  Adoration  of  the  Magi,  in  which  Botticelli 
has  introduced  the  portraits  of  Cosimo,  Guiliano  and  Giovanni 
di  Medici  (Photo.  No.  445).  By  that  house  he,  like  all  artists 
of  his  time,  was  much  befriended. 

Oil  Paintings. 

No.  14    The  Magnificat.    (Copy)  [Florence] 

A  circular  picture  representing  the  Madonna  holding  the 
Child  in  her  lap,  and  writing  the  Magnificat  (The  Hymn  of 
the  Virgin — Luke  i.  46);  angels  tender  the  inkstand  and  book, 
two  others  support  her  crown,  and  even  the  Child  does  not  sit 
in  her  lap  with  unstudied  grace,  but  gazes  upward. 


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REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


No.  3    The  Allegory  of  Calumny,  (Copy) 

[Florence] 

On  Boticelli's  return  from  Rome,  when  he  had  been  accused 
of  heresy,  he  painted  this  picture  after  Lucan's  description  of 
that  of  Apeles  (332  B.  C.)  It  displays  Botticelli's  partiality 
for  rapid  action  and  fluttering  garments,  delicate  ornamen- 
tation and  lighting  with  gold. 

Photographs  from  Paintings. 
No.  413    The  Assumption  of  the  Virgin,  [London] 

No.  414  Giovanni  Tornabuoni  and  the  Three 
Graces.  [Paris] 

(Fresco  from  the  Villa  Lemmi,  near  Florence.) 

No.  415     Venus  and  Three  Loves,  [London] 

No.  416  Moses  Killing  the  Egyptian^  driving 
away  the  Shepherds  from  the  Fountain 
and  Adoring  the  Burning  Bush,  [Rome] 

No.  417     Virgin^  Infant  and  St.  John,  [Frankfort] 

No.  418     Virgin^  Infant  and  Saints.  [Florence] 

No.  419    Revolt  of  Kor ah:  [Rome] 
Death  of  the  Sons  of  Korah  and  the  Sons  of  Aaron. 
No.  420    Lorenzo  Alhizzi  and  the  Liberal  Arts, 

[Paris] 

(Fresco  from  Villa  Lemmi,  near  Florence.) 

No.  421  Holy  family,  [Florence] 

No.  422  Virgin  and  child  Jesus.  [Florence] 

No.  423  Virgin^  Infant  and  Saints.  [Florence] 

No.  424  Lucrezia  Tornabuoni.  [Frankfort] 

Wife  of  Pierre  de  Medici  and  mother  of  Lawrence  the 
Magnificent. 

No.  425    La  Force  {Strength)  [Florence] 


WESTEBN  GAIiliERY  OP  ART,  KANSAS  CITY,  MO.  17 

No.  426    Coronation  of  Virgin,  [Florence] 

No.  427     Calumny.  (See  copy  in  oil,  No.  3) 

[Florence] 

No.  428    Madonna  and  Infant,  [Paris] 

No.  429  Angels — -Detail  of  The  Magnificat, 

[Florence] 

No.  430  The  Birth  of  Venus,  [Florence] 

No.  431  The  Magnificat  (See  No.  14).  [Paris] 

No.  432  Fresco  Villa  Lemmi,     (Detail.)  [Paris] 

No.  433'  Adoration  of  the  Kings,  [Florence] 

No.  434  Virgin^  Infant  and  St.  John,  [Dresden] 

No.  435  The  Archangels  and  Toiias,  [Florence] 

No.  436     Virgin,  Child  and  Six  Angels, 

[Florence] 

No.  437     Virgin,  Infant,  St,  John  and  Angels. 

[Rome] 

No.  438    Annunciation  of  the  Virgin.  [Florence] 

No.  439    Holy  Family  with  Angels.  [Florence] 

No.  440    Virgin  with  Infant  crowned  ly  Angels, 

[Florence] 

No.  441    Miracle   of    St.   Zenobius,  Bishop  of 
Florence,  [Dresden] 

No.  442  Venus.  [Paris] 
No.  443    Mars  and  Venus.  [London] 


18 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THB 


No.  444    Realm  of  Venus  (^Springtime)  [Florence] 

(10  ft.  X  6  ft.) 

Painted  in  tempera,  the  coloration  of  the  "Allegory  of 
Spring"  has  a  peculiarly  delicate  and  opaline  quality, 
while  the  general  aspect  fascinates  the  eye  by  its 
decorative  richness.  In  the  foreground,  is  a  lawn  of  fresh 
grass,  bespangled  with  lilies,  daisies,  chrysanthemums,  and 
bells  and  flowerets  of  a  thousand  hues.  The  figures  are 
placed  beneath  a  canopy  formed  by  spreading  fruit-laden 
branches  of  trees,  showing  here  and  there  between  their 
trunks  and  the  interstices  of  the  foliage,  luminous  patches  of 
pale  blue  sky.  In  this  picture,  the  curtain  of  trees  opens  into 
a  sort  of  arch  in  the  middle,  and  the  space  is  filled  by  a 
spreading  myrtle  tree  that  forms,  as  it  were,  an  aureole  for  the 
central  figure  of  a  pensive  Venus,  over  whose  head  a  golden 
haired  cupid  poised  in  mid  air,  blindfolded  and  equipped  with 
a  rose  colored  quiver,  shoots  an  arrow,  from  the  head  of 
which  little  flames  spread  in  the  form  of  a  lily.  Venus 
wears  a  coif  and  a  gown  of  pearly  lavender  tone, 
embroidered  with  gold  around  the  neck.  Her  golden  hair 
hangs  over  her  shoulders  in  wavy  tresses,  and  on  her  breast  is 
pinned  a  rich  jewelled  ornament.  Over  the  gown  is  draped  a 
carmine  red  mantle,  diapered  with  a  gold  design,  lined  with 
amethyst  and  bordered  with  a  fringe  of  pearls.  Her  sandals 
are  laced  with  golden  strings. 

On  Venus'  right  hand  the  Three  Graces,  holding  hands, 
dance  gravely  with  movements  of  winning  harmony,  each  one 
adorned  with  jewels  and  clad  in  transparent  draperies,  em- 
broidered around  the  neck  and  fringed  with  pearls. 

Next  to  the  group  of  the  Graces,  is  a  blue-eyed  Mercury,  with 
abundant  brown  hair,  wearing  a  helmet  of  oxidized  steel,  a 
mantle  of  raspberry  red,  a  richly  wrought  dagger  and  shoulder 
belt,  russet  gaiters  turned  down  with  blue,  to  which  are 
attached  exquisite  brown  wings,  picked  out  with  gold.  This 
semi-nude  figure  is  represented  in  the  act  of  reaching  an 
apple  with  his  caduceus.  To  the  left  of  the  group  is  a  winged 
male  figure,  evidently  Zephyr,  who,  half  floating  in  the  air, 
deposits  on  the  ground  a  beautiful  woman,  perhaps  symbol- 
izing Flora. 

No.  445    Adoration  of  the  Magi.  [St.  Petersburg] 

No.  446     Virgin  and  Six  Angels.  (Detail) 

[Florence] 


WESTERN  GALLERY  OP  ART,  KANSAS  OITY,  MO. 


19 


No.  447    Birth  of  the  Savior.  [London] 

No.  448     Virgin^  Infant  and  St.  John.  [Paris] 

No.  449    Temptation  of  Christ.  [Rome] 

No.  450     Virgin  and  Six  Angels.  (Detail.) 

[Florence] 

No.  451    La  Belle  Simonette.  [Florence] 

GHIRLANDAJO  (Domenico— Tomaso  Bi- 

gordi)  (1449-1494) 

He  was  chosen  as  the  teacher  of  Michael  Angelo,  who  was 
apprenticed  to  him  for  three  years.  His  genius  lying  largely 
in  the  direction  of  portrait  painting,  he  frequently  caused  his 
contemporaries  to  figure  as  spectators  of  his  sacred  scenes. 
Among  portraits  thus  introduced  was  that  of  Amerigo  Ves- 
pucci, who  was  to  give  his  name  to  a  continent.  In  the 
peculiar  coloring  used  in  fresco  painting,  Ghirlandajo  excelled. 

Photographs  from  Paintings. 

No.  398    Adoration  of  the  Shepherds.  [Florence] 

No.  399    Adoration  of  the  Kings.  [Florence] 

One  of  his  finest  works,  a  delightful  incident  of  which  is 
the  presentation  of  two  exquisitely  natural  little  children  by 
the  Baptist  on  one  hand  and  the  Evangelist  on  the  other. 

From  Drawings. 

No.  669    Study  from  Drapery.  [Dresden] 

No.  670    Head  of  young  girl.  [Florence] 

No.  671    Studies — figure  kneeling^  draped  ;  figure 
sitting;  and  two  anatomical  studies. 

[Florence] 

No.  672  Bust  of  Woman.  [London] 
CARPACCIO  (1450-1522) 

A  pupil  of  Gentile  Bellini.  A  master  of  perspective  and 
a  geometrical  distributer  of  subject ;  rough  in  touch,  dusky 


20  REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 

and  red  in  flesh  tone,  coarse  and  black  in  outline.  What  he 
lacked  in  feeling  for  color,  was  compensated  by  the  application 
of  scientific  laws." 

Photographs  from  Paintings. 

No.  452    Eeception  of  the  Ambassadors.  [Venice] 

One  from  his  most  important  work,  nine  pictures  represent- 
ing the  Legend  of  St.  Ursula.  The  English  ambassadors,  who 
come  to  ask  the  hand  of  St.  Ursula,  for  the  son  of  the  king  of 
England,  are  received  by  King  Maurus  in  the  center. 

No.  453    Cherub  with  Mandolin.  [Venice] 

Detail  from    Presentation  of  the  Bambino  (Infant)." 

No.  454    Bt.  Ursula  Beceiving  the  Bridegroom. 

[Venice] 


VINCI  (Leonardo  da)  1452-1619) 

Mathematician,  mechanic,  architect,  chemist,  engineer, 
musician,  poet  and  painter,  he  began  much,  but  finished 
comparatively  little.  In  his  works,  he  combined  grandeur  of 
design  and  harmony  of  expression  with  minute  finish.  He 
invented  or  discovered  chiaroscuro.  He  founded  at  Milan, 
the  Lombard  school  of  painting,  distinguished  by  a  graceful 
style  of  drawing,  sweetness  of  expression,  and  transparency  of 
light  and  shade.  In  1480,  he  said,  "  I  can  do  anything  pos- 
sible to  a  man,  as  well  as  any  living  artist  either  in  sculpture 
or  painting."  His  genius  reached  its  highest  point  in  the 
"Last  Supper,"  which  was  painted  on  the  wall  of  the  dining 
hall  of  a  Dominican  Convent  in  Milan.  It  is  one  of  the  twelve 
"world  pictures,"  and  in  spite  of  the  humidity  of  the  atmos- 
phere, the  perishable  nature  of  da  Vinci's  colors,  and  the 
stabling  oi  Napoleon's  horses  before  it,  enough  still  remains 
to  vindicate  its  right  to  its  high  rank. 

Photographs  from  Paintings. 
No.  150    Bortrait  of  a  Lady.        [St.  Petersburg] 

No.  151    The  Virgin^  Infant  Jesus  and  St.  Anne. 

[Paris] 

No.  152    The  Adoration  of  the  Kings.  [Florence] 


SIS  1 IX  E  MADL  INN  A —RA  PHA  EL. 


.'iU/)O.VA'A  nh'J.LA  sum  A  [OF  THE  CH AIR ,— RAPHAEL. 


/V     7  A'.  /  /'/'  (^F  I  WA'Xf^  Jf  \V  .VA.y—  TITIAN. 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


31 


No.  153  Head  of  Medusa.  [Florence] 

No.  154  The  Madonna  of  the  Scales.  [Paris] 

No.  155  The  Madonna  of  the  EocJcs,  [Paris] 

No.  156  St.  John  the  Baptist.  [Paris] 

No.  157  The  Annunciatioji  of  the  Virgin. 

[Florence] 

No.  158  Mona  Lisa.  [Paris] 

The  "subtle,  shadowy,  uncertain  smile  in  the  wonderful 
'Mona  Lisa,'  upon  which  the  master  worked  four  years  and 
was  unsatisfied." 

No.  159    The  Virgin  and  Child  with  St.  John  and 
an  Angel.  [London] 

No.  160  Saint  Jerome.  [Eome] 

No.  161  Portrait  of  the  Painter.  [Florence] 

No.  162  The  Holy  Family.  [St.  Petersburg] 

No.  163  Portrait  of  a  Lady.  [Florence] 

No.  164  Saint  Marguerite.  [Rome] 

No.  165  The  Madonna  Litta.  [St.  Petersburg] 

No.  166    Ilerodias^  Daughter  with  head  of  St. 

John  the  Baptist.  [Dresden] 

From  Drawings. 

No.  690    Bust  of  young  woman^  right  profile. 

[Windsor] 

No.  691    Bust  of  woman^  right  profile.  (Copied 
from  drawing  in  the  Louvre)  [Florence] 

No.  692    Portrait  of  woman.^  abundant  hair^  turn- 
ing to  the  left^  and  striped  dress.  [Paris] 


32  BEPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 

No.  693    Bust  of  young  man^  with  abundant  hair 
covered  by  cap,  [Milan] 

No.  694    2he  Visit  of  the  Virgin  to  Elizabeth,  {?) 

[Vienna] 

No.  695    Caricature,  [Vienna] 

No.  696    Study  of  right  hand^  fingers  bent,  [Milan] 

No.  697    Study  of  drapery  of  seated  figure. 

[Paris] 

No.  698    Study  of  right  hand  of  angel  in  the  Ma- 
donna of  the  Rocks,  [Windsor] 

No.  699    Head  of  woman,^  bending  to  the  right, 

[Florence] 

No.  700    Figure  naked  and  crouching,  [Dresden] 

No.  701    Bust  of  man^  left  profile,  [Florence] 

No.  702    Head  of  woman,,  turned  to  left,  [Venice] 

No.  703    Bust  of  woman  ^  front  view^  and  arms 
crossed.  [Florence] 

No.  704    Man,,  back  view.  [Windsor] 

No.  705    Head  of  woman,  [Vienna] 

No.  706    Head  of  child,,  right  side,,  representing 
Maximilian^  son  of  Lodovico  il  Moro, 

[Milan] 

No.  707    Head  of  woman^  profile  and  bending 
to  the  left,  [Florence] 

No.  708    St,  Anne.       (Study  for  painting  in  the 
Louvre)  [Milan] 

No.  709    Head  of  Monk,  left  side.  [Vienna] 


WESTERN  GAIiliERY  OF  ART,  KANSAS  CITY,  MO. 


23 


No.  710    Head  of  Virgin,     (Study  for  painting 
in  the  Louvre)  [Vienna] 

CREDI  (Lorenzo)  (1453-1532) 

"He  painted  only  easel  pictures, and  carried  his  conscientious 
care  to  over-smoothness  of  finish.  The  adoration  of  the  infant 
Christ  by  his  mother  was  his  favorite  subject,  and  his  char- 
acteristic infant  form  was  round  and  plump,  the  joints  being 
mere  creases.  He  attains  a  fervor  and  warmth  of  feeling, 
despite  all  his  careful  treatment  of  form,  which  give  them  a 
peculiar  charm. 

Photographs  from  Paintings. 
No.  396    Adoration  of  the  Shepherds.  [Florence] 
No.  397     Virgin  Adoring  the  Infant.  [Florence] 
No.  688    Madonna  and  Saints.  [Paris] 

From  Drawings. 
No.  686    Head  of  young  girl^  almost  full  face. 

[Vienna] 

No.  687    Head  of  woman^  slightly  turned  to  left. 

[Paris] 

CIMA  (Giovanni  Batista)  (Conegliano) 

(1460-1517) 

As  a  painter  in  oil,  he  soon  became  one  of  the  best  of  the 
Bellinesque  school. 

Photograph  from  Drawing. 
No.  738    Enthroned  Virgin.  [Paris] 


ALBERTINELLI  (Mariotto)  (1467-1512) 

A  Florentine  painter  who  imitated  Bartolommeo. 

Photograph  from  Painting. 

No.  378     Visitation  of  the  Virgin.  [Florence] 

His  masterpiece ;  a  very  simple  picture  with  an  architec- 
tural background.  Elizabeth  greets  Mary  in  the  center,  the 
two  figures  being  very  graceful  and  fine  in  feeling. 


24 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


SESTO  (Cesare)   (Lovini)    (  1524) 

A  pupil  of  both  da  Vinci  and  Eaphael. 

Photograph  from  Drawing. 
No.  676    Study  of  hands  and  arm.  [Venice] 


MICHAEL  ANGELO  (Buonarotti)  (1474-1564) 

''The  man  of  four  souls,  great  in  poetry,  in  architecture, 
in  painting,  and  supremely  great  in  sculpture."  He  was  born 
of  noble  parentage  and  lived  in  Florence  and  Rome.  At  the 
age  of  twenty-four,  he  had  attained  fame  through  the  Pieta, 
''the  purest  of  all  his  statues"  says  Symonds.  He  had 
already  matured  his  "terrible  manner."  Called  to  Rome, 
he  began  what  he  called  the  "tragedy  of  my  life,"  the  mau- 
soleum of  Pope  Julius  II.  Of  this  work,  magnificent  in  plan, 
only  three  statues  were  completed,  and  only  one  perfectly 
finished.  The  "Moses,"  the  "  Pieta  "  and  the  "  Dawn  "  from 
the  Lorenzo  tomb  are  perfectly  finished  ;  "executed  with  the 
highest  polish  it  is  possible  for  stone  to  take."  In  1508, 
Angelo  began  the  decoration  of  the  Sistine  Chapel,  which 
exhibits  every  quality  of  his  genius ;  perfect  marvels  of  the 
human  form,  sublimity  of  design,  profundity  of  imagination, 
boldness  of  execution  and  astonishing  skill  in  perspective.  In 
sculpture,  the  grand  climax  of  his  power  was  reached  in  the 
Medician  tomb  in  San  Lorenzo,  Florence.  "Here  is  the 
height  of  power  and  expression  beyond  which  no  mortal  hand 
could  reach."  When  over  seventy,  Angelo  was  made  the 
architect  of  St.  Peters,  and  swung  its  mighty  dome  in  air. 

Photographs  from  Paintings. 

No.  381    Holy  Family,    (Ufizzi)  [Florence] 

(This  is  the  only  finished  easel  picture  by  Michael  Angelo's 
own  hand.) 

No.  382    Detail  f  rom  ceiling  of  Sistine  Chapel. 

[Rome] 

No.  461    Moses,    (Marble)  [Vincola] 

''In  this  famous  colossal  figure  the  sculptor  has  permitted 
himself  to  be  led  altogether  by  his  symbolic  purpose,  and  has 
sought  out  a  moment  which  allowed  the  expression  of  a  power- 
ful energy.  We  have  here,  not  the  circumspect  leader  of 
hosts,  nor  the  wise  law-giver,  but  the  fiery  zealot. 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


25 


No.  462    The  Last  Judgment,  [Rome] 

Here  is  embodied  the  faith  of  the  Christendom  of  Angelo's 
time,  concerning  the  final  end  of  the  world.  His  object  was 
to  exhibit,  in  powerful  relief,  the  misery  and  the  odiousness  of 
sin,  and  to  point  to  a  hell  within  the  breast,  more  terrible  than 
any  combinations  of  outward  torture. 

•  No.  463    The  Fates.  [Florence] 

(Said  to  be  only  the  design  of  the  master.) 

No.  476    Ceiling  of  Sistine  Chapel,  [Rome] 

"The  cycle  of  scriptural  subjects  which  it  includes  forms 
the  most  comprehensive,  the  most  exquisitely  combined,  and 
the  most  sublime  of  all  his  works,"  (Vasari  1.)  Its  length  is 
132  ft.,  its  width,  44  ft.,  and  its  height,  68  ft.  At  the  spring 
of  the  vault  all  around  the  chapel  are  the  majestic  figures  of 
the  sibyls  and  prophets.  In  the  ceiling  proper,  the  great  story 
of  the  creation,  the  primeval  history  of  man,  sin's  entrance 
into  paradise,  the  curse  and  its  awful  consequences,  are 
placed  vividly  before  us. 

Nos.  525-26-27-28-29-30-32;  433-38-39-40 

Details  f  rom  the  Sistine  Chapel,  [Rome] 
From  Drawings. 
No.  534    Head  of  a  Demon,     (Study   for  the 
' '  Furies. ' ' )  [Florence] 

Nos   535-36-37     Details  from  the  Medici  Toinb, 

[Florence] 

No.  541    Study  of  a  young  man,    (For  Persian 
Sybil)  [Vienna] 

No.  542    Head  of  a  woman,    (Suppose  to  be  Vit- 
toria  Colonna)  [Windsor] 

No.  543    Head  of  a  man,  [Paris] 

Nos.  544-45-46-47-48-49-51-52-53-54 

Details  of  Last  Judgment,  [Rome] 
No.  550    Tomh  of  the  Medici,      (Adapted  for  a 
frontispiece)  [Florence] 


26 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


FRA  BARTOLOMMEO  (Baccio)  (1475-1576) 

The  friend  of  Savanarola,  and  a  monk  of  San  Marco.  His 
principal  works  are  devotional,  but,  with  these  limits,  he  is 
admirable,  and  his  groups  are  composed  with  a  true  sense  of 
beauty.    He  adopted  oil  instead  of  tempera. 

Photograph  from  Painting. 
No.  379    Enthroned  Virgin.  [Florence] 


SODOMA  (II  Cavaliere)  (Bazzi)  (1477-1549) 

''Distinguished  by  parity  of  style  and  careful  execu- 
tion. His  historical  paintings  abound  in  beauty  of  form, 
color  and  countenance,  but  fail  in  that  instinctive  arrange- 
ment of  many  details  into  one  great  whole,  which  constitutes 
fine  composition."    (C2/C.  0/  P.  and  P.) 

Photograph  from  Painting. 

No.  170    St,  Sebastian.  [Florence] 

"Almost  in  chiaroscuro,  but  a  most  glorious  specimen  of 
the  artist,  and  the  finest  rendering  of  this  subject.  At  the 
back  of  this  picture  is  a  beautiful  Holy  Family."  (Hare.) 

Photograph  from  Drawing. 

No.  659    Laurel-crowned  head  of  young  man 

[Florence] 


TITIAN  (Tiziano  Vecelli)  (1477-1576) 

Born  at  Cadore  in  the  Friulian  Alps  ;  went  early  in  life  to 
Venice,  where  he  became  the  foremost  painter  of  the  Venetian 
school ;  studied  under  Bellini,  but  departed  from  the  severe, 
somewhat  archaic  manner  of  his  master,  and  was  affected  to  a 
certain  extent  by  the  influence  of  his  genial  fellow  pupil, 
Giorgione.  He  was  not  a  man  of  universal  genius  like  da 
Vinci  or  Michael  Angelo ;  his  one  great  endowment  was  paint- 
ing. In  this  art  he  is  technically  the  greatest.  As  a  draughts- 
man of  the  human  figure,  he  was  good,  and  is  said  to  have 
studied  anatomy  deeply.  In  the  use  of  color  as  applied  to 
draperies,  he  distanced  all  predecessors,  working  on  the 
principle  that  red  comes  forward  to  the  eye,  yellow  retains  the 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


27 


rays  of  light,  and  blue  assimilates  to  shadow.  The  glow  of 
late  afternoon  and  early  sundown  was  frequently  employed  in 
his  pictures.  His  later  works  show  a  bolder  brush,  and  deal 
with  free,  magnificent  forms  and  with  broad  masses  of  color. 

Oil  Paintings. 
No.  8.    Sacred  and  Profane  Love,  (Copy) 

[Rome] 

"  One  of  the  earlier  works  of  Titian;  recognized  at  the  time 
as  a  masterpiece  and  marking  a  period  in  the  growth  of  Vene- 
tian art.  A  contrast  is  evidently  intended  between  the  beau- 
tiful nude  figure  of  Artless  Love,  sitting  on  the  ledge  of  the 
fountain,  a  crystal  dish  at  her  side  symbolizing  her  thoughts, 
while  her  left  hand  holds  aloft  the  vase  and  emblematic  in- 
cense of  love,  and  the  fully  dressed  figure  of  Sated  Love 
who  sits  to  the  left,  her  back  resolutely  turned  towards 
Cupid,  her  face  determined,  haughty  and  serene.  A  plucked 
rose  fades  unheeded  by  her  side,  and  a  lute  lies  silent  under 
her  elbow.  The  background  of  this  picture  is  very  beautiful; 
the  balmy  atmosphere  of  an  autumnal  evening  broods  over 
the  hills,  and  streaks  of  grey  cloud  alternate  with  bands  of 
light  in  a  sunset  sky.  It  is,  perhaps,  one  of  the  most  perfect 
revelations  of  purely  pictorial  loveliness  the  world  has  seen." 

(0.  &  C.) 

No.  7    Portrait  of  an  unknown  man.  (Copy) 

[Florence] 

Full  face,  left  hand  leaning  on  hip,  right  hand  holding 
gloves.    Black  vest  and  cloak,  collar  of  gold. 

Photographs  from  Paintings. 

No.  403    The  Assumption  of  the  Virgin,  [Venice] 

A  masterpiece  of  Titian's,  executed  during  the  period  of 
his  greatest  vigor.  The  magnificent  form  of  the  Madonna 
floats  in  space,  surrounded  by  a  shining  host  of  rejoicing 
angels  ;  below  are  the  Apostles  gazing  upward  with  passionate 
longing,  and  seeming  to  be  drawn  after  the  transfigured 
Madonna,  who  leaves  them  behind  on  the  earth  to  mourn. 
The  story  is  told  with  free,  bold  touches,  and  with  an  over- 
powering wealth  of  color.  The  only  trace  of  violence  of  treat- 
ment, is  in  the  somewhat  confused  and  altogether  too  stormy 
group  of  Apostles.    {W.  <&  W.) 


28 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


No.  404    Tke  Pesaro  Madonna, 


[Venice] 


"An  altar  piece  representing  the  Madonna  enthroned,  sur- 
rounded by  Saints  and  by  the  Pesaro  family.  This  work  was 
finished  in  1526,  after  seven  years  of  study  upon  it,  and  in  this 
Titian  is  generally  considered  as  reaching  the  highest  point  of 
his  fame.  In  it  he  brought  to  perfection  the  best  and  finest  of 
all  forms  of  presentation  pictures;  the  noblest  combination  of 
the  homely  and  devotional,  with  palatial  architecture  the  most 
splendid  and  solemn.  The  Virgin  sits  on  her  throne  bending 
down  in  a  graceful,  kindly  way  and  directs  her  glance  to  the 
Pesari  who  kneel  in  the  portico  of  the  temple.  The  infant 
Christ  peeps  from  beneath  the  Virgin's  veil  at  St.  Francis. 
To  the  left  front  of  the  throne  sits  St.  Peter  at  a  desk.  In  the 
rear  stands  an  armed  knight  with  the  standard  of  the  church 
unfurled,  and  a  captive  Turk  bound  by  a  rope  symbolizing  the 
victory  of  the  Pesari."    (C.  &  C.) 

No.  405    27ie  Magdalene.  [Florence] 

A  lovely,  but  not  very  penitent  head;  the  tearful  eyes  raised 
to  heaven,  a  wealth  of  hair  veiling  her  neck  and  bosom.  Alto- 
gether a  beauty  of  such  uncommon  order  as  to  deserve  all  the 
praise  which  is  given  it. 

No.  406     Veims  of  JJrMno.  [Florence] 


A  noble  portrait  of  Titian's  middle  period.  Light  and 
shade  are  contrasted  with  great  mastery;  the  touch  is  broad 
and  free,  the  hand  admirably  modelled. 


Sometimes  called  the  Duchess  of  Urbino.  One  of  Titian's 
likenesses  in  which  every  feature  tells  of  high  lineage,  and 
one  so  winning  that  it  lurked  in  his  memory,  and  passed  as  a 
type  into  numerous  canvases  in  which  the  painter  tried  to 
realize  an  ideal  of  loveliness. 

No.  409    Presentation  of  Mary  in  the  Temple. 

[Venice] 

'*It  was  in  the  nature  of  Titian  to  represent  this  subject  as 
a  domestic  pageant  of  his  own  time,  and  seen  in  this  light  it  is 
surprisingly  touching  and  beautiful.  Venice  is  here  substi- 
tuted for  Jerusalem,  the  country  of  Bethlehem  transformed 


No.  407    Man  with  a  Glove. 


[Paris] 


No.  408    La  Belle  Donna. 


[Florence] 


MADONNA  OF  THE  HARPIES-DEL  SANTO. 


I 


I 


'  THE  COXCERT-CKyxCIOXE. 


/YVv"/A'.//7:s-  OF  CHI  LP  REX  OF  CHARLES  I.—  VAN  DYCK. 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO, 


into  Cadore,  and  Pharisees  replaced  by  Venetian  senators. 
Mary  in  a  dress  of  celestial  blue,  ascends  the  steps  of  the 
temple  in  a  halo  of  radiance.  At  the  top  of  the  stairs,  a  High 
Priest  in  J ewish  garments  regards  the  young  girl  with  kindly 
gravity.  In  the  street  before  the  temple,  is  a  crowd  of  people, 
such  as  might  be  seen  any  day  in  the  public  square  of  Venice. 
In  this  gorgeous  yet  masculine  and  robust  realism,  Titian 
shows  his  great  originality,  and  claims  to  be  the  noblest  repre- 
sentative of  the  Venetian  school  of  color.  Titian  inherits  the 
framework  of  this  picture  from  Jacopo  Bellini,  and  as  was 
usual  with  him,  takes  up  and  assimilates  what  his  predecessors 
have  garnered."    (C  &  C.) 

No.  410     Venus  Binding  the  Eyes  of  Love,  [Rome] 

**This  subject  is  sometimes  called  the  *  Education  of 
Cupid.'  The  Queen  of  Love  is  seated  in  front  of  a  gorgeous 
red-brown  drapery,  her  head  is  crowned  with  a  diadem,  her 
luxurious  hair  falls  in  heavy  locks  on  her  neck.  With  both 
hands  she  is  binding  the  eyes  of  Eros.  A  girl  with  naked 
throat  and  arms  carries  Cupid's  quiver  whilst  a  second  holds 
his  bow."  (C.cfcC.) 

No.  411    Flora.  [Florence] 

Painted  probably  about  1520.  The  proportions  and  feat- 
ures are  of  surpassing  loveliness.  Instead  of  the  usual  vivid 
color  and  powerful  effects  of  light  and  shade,  we  have  here  all 
light,  all  softness,  and  a  suffusion  which  is  not  without  dazz- 
ling brightness,  though  it  is  without  strong  contrasts.  (C  cfc  C) 

No.  412    Venus  Reclining.  [Florence] 

No.  679    Cupid  Crowning  Venus.  [Dresden] 

Represents  the  Princess  Eboli,  the  mistress  of  Philip  II, 
with  the  King.  One  of  the  most  beautiful  of  Titian's  many 
Venuses. 


No.  743    The  Entombment. 


[Paris] 


From  Drawings. 

No.  678     Unfinished  sketch  for  the  Pesaro 
Madonna. 


[Vienna] 


No.  680    Head  of  a  young  woman.  [Florence] 


30 


REPRODUCTIONS  OP  WORKS  OF  ART  IN  THE 


GIORGIONE  (Giorgio  Barbarelli)  (1478-1511) 

Was  regarded  as  one  of  the  most  important  masters  of  the 
16th  century  and  belonged  to  the  Venetian  school.  He  was  a 
pupil  of  Bellini,  whom  he  far  surpassed  in  vigor  and  freedom, 
and  was  the  early  intimate  of  Titian,  to  whom  some  of  his 
work  has  been  attributed  and  vice  versa.  His  early  death 
accounts  for  the  limited  number  of  his  pictures.  His  color 
glows  with  a  light  from  within."  Giorgione  was  the  first  of 
the  Venetians  to  give  importance  to  landscapes. 

^  Oil  Painting. 

No.  12    The  Concert.        (Copy)  [Florence] 

A  copy  of  one  of  the  most  celebrated  of  the  pictures 
ascribed  to  Giorgione.  gem  of  the  greatest  charm  of 

feeling,  unfortunately  much  repainted,  but  a  masterpiece  of 
Venetian  art."  A  golden  glow,  three  individualized,  dark- 
robed  figures  in  half  length  against  it,  two  wonderful  hands 
playing  on  the  harpsichord,  make  a  picture  whose  lasting 
charm  can  scarcely  be  explained.  Some  critics  attribute  the 
picture  to  Titian. 

Photographs  from  Paintings. 

No.  401    Sleeping  Venus.  [Florence] 
Formerly  attributed  to  Titian. 

No.  402  "Chevalier  of  Malta.  [Florence] 
A  portrait  generally  admitted  to  be  genuine. 

No.  400    Concert  Champetre.  [Paris] 
Considered  one  of  his  masterpieces. 

Photographs  from  Drawings. 

No.  556    Landscape.  [Florence] 

No.  557    A  nude  man.  [Venice] 


FALMA  (Jacopo)  (II  Vecchio)  (1480-1528) 

In  the  small  field  which  he  cultivated,  he  was  a  fine  com- 
poser ;  his  drawing  was  quick  and  resolute.  The  type  of  fig- 
ure to  which  he  clung  was  full,  ripe,  and  ennobled  in  the  faces 
by  delicate  chiseled  features,  but  wanting  in  the  perfect  dig- 
nity of  carriage  and  mien  familiar  in  Titian. 


WESTERN  GALLERY  OP  ART,  KANSAS  CITY,  MO.  31 
PpOTOGRAPH  FROM  PaINTING. 

No.  377    Santa  Barbara,  [Venice 

The  center  from  his  master  work — an  altar  piece  in 
Santa  Maria  Formosa,  in  Venice,  in  seven  divisions.  "This 
Santa  Barbara  is  magnificent,  almost  heroic,  in  treatment,  and 
glowing  in  color."  As  she  was  the  patron  saint  of  the  army, 
she  stands  on  cannon,  while  her  symbol,  the  tower,  is  seen  in 
the  background.  "  Her  tunic  is  a  warm  brown,  the  mantle  of 
crimson,  and  a  white  veil  is  twisted  in  her  diadem  and  pale 
golden  hair ;  the  whole  picture  is  one  glow  of  color,  life  and 
beauty." 


RAPHAEL  (Sanzio)  (1483-1520) 

Among  all  the  painters  of  the  world,  none  has  been  so 
universally  popular  as  Raphael,  or  has  so  steadily  maintained 
his  pre-eminent  reputation  throughout  the  many  changes  in 
taste  which  have  taken  place  in  the  last  three  and  a  half 
centuries.    He  has  been  called  the  ''King  of  Painters." 

Raphael  became  the  pupil  of  Perugino  in  1499.  As  was  the 
case  with  every  one  with  whom  Raphael  came  in  contact,  the 
Perugian  master  was  fascinated  by  the  charm  of  his  manner, 
and  delighted  by  his  precocious  ability,  and  seems  to  have 
devoted  special  pains  to  his  artistic  education.  To  describe 
the  various  influences  under  which  he  came,  and  the  many 
sources  from  which  he  drank  in  stores  of  artistic  knowledge, 
would  be  to  give  a  complete  history  of  Italian  art  in  the  fif- 
teenth century.  With  astonishing  rapidity  he  shook  off  the 
mannerisms  of  Perugino,  and  put  one  great  artist  after  another 
under  contribution  for  some  special  power  of  drawing,  beauty 
of  color,  or  grace  of  composition,  in  which  each  happened  to 
excel. 

Among  his  contemporaries,  it  was  especially  Signorelli  and 
Michael  Angelo  who  taught  him  the  importance  of  precision 
of  line  and  the  necessity  of  a  thorough  knowledge  of  the 
human  form. 

Although  Raphael  was  never  married,  no  artist  has  so 
glorified  the  happiness  of  the  family  life  as  he.  Fifty  Madon- 
nas could  be  named,  painted  from  his  earliest  youth  to 
the  last  days  of  his  life,  in  which  he  treated  this 
favorite  subject.  But  at  the  same  time  he  so  varied  his  con- 
ception of  a  mother's  love — the  simplest  and  purest  of  all 
human  emotions — that  his  paintings  of  that  subject  illustrate 
plainly  in  themselves  the  different  stages  of  his  own  develop- 


30 


RBPBODUCTIOKS  OF  WQUKS  01*  ART  IN  THE 


ment.  The  childlike  diffidence  of  the  Madonnas  of  his  earlier 
manner  blooms  out  gradually  into  a  gracefully  developed 
maidenhood,  until  they  finally  attain,  in  his  ripest  works,  to 
the  expression  of  a  grandly  free,  motherly  dignity,  which  is 
hallowed,  however,  by  a  mysterious  charm  of  innocence  and 
purity.  Thus,  these  pictures  are  the  most  humanly  lovely 
delineations  of  a  simple,  devout  family  life,  and  yet,  without 
the  addition  of  halos  and  gold  backgrounds,  more  divine 
than  all  earlier  Madonnas. 

The  number  and  extent  of  Raphael's  works  are  marvel- 
lous when  the  shortness  of  his  life  is  remembered.  He  left 
behind  him  two  hundred  and  eighty-seven  pictures,  and 
five  hundred  and  seventy-six  drawings  and  studies. 

Oil  Paintings. 

No.  15    Sistine  Madonna,     (Copy)  [Dresden] 

This  world  renowned  picture  was  painted  in  1518  for  the 
Church  of  San  Sisto,  in  Piacenza,  and  is  at  present  the  prized 
masterpiece  of  the  Dresden  Gallery.  The  Madonna,  a 
heavenly  apparition,  borne  upon  clouds,  encircled  by  a  glory 
of  lovely  angel-faces,  with  the  Child  in  her  arms,  stands  in  the 
upper  part  of  the  picture,  while  Saint  Sixtus  and  Saint  Bar- 
bara kneel  below.  Two  enchanting  angel-boys,  leaning  on  the 
lower  division  of  the  picture,  give  the  last  touch  of  beauty  to 
this  magnificent  work — a  rare  example  of  Raphael's  later 
period,  upon  which  every  form  of  eulogy  has  been  exhausted. 
The  Madonna's  beauty  is  a  human  beauty,  but  the  Child  is 
something  more — the  divine  nature  shines  through  and  illum- 
ines it.  No  sketch  or  drawing  of  it  has  ever  been  found  and  it 
is  believed  that  this  great  painter  put  it  at  once  upon  the 
canvas,  being  almost  inspired  to  the  work.  In  the  year  1753, 
August  III.,  the  Elector  of  Saxony,  bought  it  of  the  Monks  of 
Piacenza  and  paid  nearly  thirty  thousand  dollars  for  it.  He 
presented  the  Monastery  with  an  old  copy  by  Paris  Nagari, 
which  still  hangs  in  the  place  of  the  original.  It  was  intended 
for  a  procession  standard,  or  drappellone,  but  the  monks 
used  it  as  an  altar  piece. 

No.  9    Madonna  della  Sedia  {of  the  Chair).  (Copy) 

[Florence] 

Legend  of  the  picture — A  holy  hermit  who  dwelt  beneath  a 
huge  oak,  which  he  loved,  and  which  the  woodmen  had  spared 
at  his  request,  was  much  loved  by  the  peasants.  His  life  was 
saved  during  a  flood,  by  the  refuge  afforded  by  the  tree  and  by 
Mary  the  daughter  of  a  vine  dresser,  who  often  ministered  to 


WESTERN  GAIiliERY  OP  ART,  KANSAS  CITY,  MO. 


33 


his  comfort,  and  who  brought  him  food  and  aid.  He  called 
Mary  and  the  Tree  his  two  daughters  and  prayed  that  in  some 
way  they  might  be  blessed  and  distinguished  together.  Years 
passed  and  the  old  oak  had  been  cut  down  and  made  into  wine 
casks.  Mary  sat  one  day  holding  her  youngest  boy  to  her 
breast  and  the  other  ran  to  her  with  a  stick  to  which  he  had 
fastened  a  cross.  A  young  man  came  near.  He  had  large, 
dreamy  eyes  and  a  restless,  weary  look  as  he  thought  of  a 
lovely  picture  which  was  in  his  mind  but  not  clear  enough  in 
form  to  enable  him  to  paint  it.  It  was  Raphael,  and  when  his 
glance  fell  upon  the  charming,  living  picture,  he  quickly 
sketched  upon  the  smooth  cover  of  a  wine  cask,  standing  near, 
the  outlines  of  Mary  and  her  boys,  took  the  oaken  cover  with  him 
and  rested  not  until  he  had  painted  the  wonderful  picture 
known  as  the  Madonna  Delia  Sedia. 

Thus  at  length  the  prayer  of  Father  Bernardo  was  answered 
and  his  two  daughters  became  famous  together. 

Photographs  from  Paintings. 

No.  367  Pope  Julius  IL  [Florence] 

No.  368  Fresco,  [Rome] 

No.  456  Virgin  of  the  Well.  [Florence] 

No.  457  Madonna  of  the  Goldfinch,  [Rome] 

No.  458  Madonna  of  the  Grand  Duke,  [Florence] 

No.  459  The  Transfiguration,  [Rome] 

(Size,  13  ft.  4  in.  X  9  ft.  3  in.  In  two  parts.) 
1.  Christ  floating  in  a  glory  of  light,  with  Moses  on  the 
right  and  Elias  on  his  left ;  below,  the  summit  of  a  mountain, 
on  which  lie  prostrate  Peter,  James  and  John,  dazzled  by  the 
light;  SS.  Julian  and  Lawrence  kneeling.  2.  The  second 
division  of  the  picture  was  painted  by  Romano,  after  Raphael's 
death,  from  the  master's  design.  It  is  called  The  Demoniac 
Boy."  This  picture  hung  over  Raphael's  body,  as  it  lay  in 
state,  and  was  carried  to  the  Pantheon  in  the  funeral  proces- 
sion. It  was  cleaned  and  restored  by  the  French,  when  they 
took  it  to  Paris  in  1797. 

No.  460    Madonna  di  Foligno,    ( Vierge  au  Dona- 
taire,)  [Rome] 

(9  ft.  5  in.  X  6  ft.  3  in.) 
More  complex  than  the  "  Sis  tine,"  though  the  general  dis- 
position is  similar.    Beneath  the  Madonna,  who  is  seated  on 


34 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


clouds,  is  a  city.  On  the  right,  below,  St.  Jerome  presents 
the  donor,  Conti,  which  gives  the  picture  its  original  name.  A 
full  length  boy-angel,  holding  a  tablet,  stands  in  the  ground- 
center.  The  picture  was  painted  on  wood  for  a  church  in 
Rome,  but  was  removed  by  Anna  Conti  to  a  convent  in  Foligno, 
from  which  the  picture  takes  its  present  name.  The  French 
carried  it  to  Paris,  where  it  was  transferred  to  canvas.  With 
the  other  Italian  pictures,  it  went  back  to  Rome  in  1815. 

No.  473    School  of  Athens,      [Fresco  in  Vatican] 

The  Triumph  of  Science ;  companion  to  The  Triumph  of 
Religion,  in  ''The  Sacrament"  (No.  475).  In  the  center, 
Plato,  with  Aristotle  beside  him,  is  expounding  to  disciples, 
while  Diogenes  lies  on  the  steps.  At  the  right,  below,  Archi- 
medes is  teaching  geometry,  with  Zoroaster  and  Ptolemy 
standing  by  Raphael  and  Perugino.  At  the  left,  on  the  plat- 
form, Socrates  talks  to  Alcibiades,  Xenophon  and  others ; 
below,  Pythogoras,  wife,  son  and  pupils. 

No.  474    Mt,  Parnassus,  [Fresco  in  Vatican] 

On  the  summit,  Apollo  sits  playing  on  a  violin,  with  his 
eyes  raised  in  poetic  transport.  Around  him  are  grouped  the 
Muses ;  at  the  left  Homer,  beween  Dante  and  Virgil,  is 
reciting  from  the  Iliad.  Seated  in  the  foreground  to  the  left 
and  right  respectively,  are  Sappho  and  Pindar. 

No.  475    The  Dispute  of  the  Sacrament. 

[Fresco  in  Vatican] 

No.  498    Adam  and  Eve,  [Fresco  in  Vatican] 

No.  499    Liberation  of  Peter.    [Fresco  in  Vatican] 

No.  500    St.  Oeorge  and  the  Dragon,  [Paris] 

No.  501    Detail  from  ' '  School  of  Athens, ' ' 

[Fresco  in  Vatican] 

No.  502    Silvester  I,  [Fresco  in  Vatican] 

No.  503    Dispute  of  the  Sacrament, 

[Fresco  in  Vatican] 

No.  504    SyMl,  [Fresco  in  Vatican] 


WESTERN  GALIiERY  OF  ART,  KANSAS  CITY,  MO.  35 

No.  505    Justice.  [Fresco  in  Vatican] 

No.  506    March  of  Attila,       [Fresco  in  Vatican] 

Painted  in  allusion  to  the  expulsion  of  the  French  from 
Italy.  Attila  in  his  march  on  Rome,  is  met  by  SS.  Peter  and 
Paul,  patrons  of  Rome,  who  appear  in  the  clouds,  swords  in 
hand,  and  so  terrify  Attila,  that  he  submits  to  the  terms  of 
Leo  I. 

No.  507    Detail  from  the  '  'Burning  of  the  Borgo, ' ' 

[Fresco  in  Vatican] 

No.  508     Victory  of  Leo  IV.  over  the  Saracens. 

[Fresco  in  Vatican] 

No.  509    Clement  I.  [Fresco  in  Vatican] 

No.  510    Sybil.  [Fresco  in  Vatican] 

No.  511    Portrait  of  Balthazar  Castiglione^ 

a  friend  of  Leo  X  and  the  author  of  the 
''Courtezan,'^  a  hook  for  courtiers. 

[Paris] 

Photographs  from  Drawings. 

No.  512    Samson  and  Lion.  [Venice] 

No.  513    Angel.  [Florence] 

No.  514    Minerva — Cupid.       [Fresco  in  Vatican] 

No.  515    Portrait  of  himself .  [Oxford] 

No.  516    Kneeling  man.  [Venice] 

No.  517    Burning  of  the  Borgo.  (Detail.) 

[Fresco  in  Vatican] 

No.  518  Two  nude  men.  [Venice] 

No.  519  Headless  draped  figure.  [Milan] 

No.  520  Head.  [Weimar] 

No.  521  St.  Michael  and  the  Dragon.  [Paris] 


36 


REPRODUCTIONS  OF  WORKS  OP  ART  IN  THE 


No.  522    Led(%  and  Swan. 
No.  523    Marsyas  and  Apollo. 


[Windsor] 
[Venice] 


Nx).  524    Virgin^  Infant.^  St.  John  and  Mother. 

[Paris] 

PIOMBO  (Sebastiano  Luciani)  (1485-1547) 


Pupil  of  Bellini  and  Giorgione.  Angelo  hoped  that  Sebas- 
tiano's  Venetian  color  and  his  own  grand  design  united,  might 
outdo  Raphael.  This  union  gave  to  Sebastiano,  after  Raphael's 
death,  the  name  of  being  the  best  painter  in  Rome. 


''The  Faultless  Andrea"  whose  story  seems  rather  a  satire 
on  such  an  adjective,  was  the  son  of  a  Florentine  tailor,  Agnola 
Vannucchi,  and  is  called  del  Sarto  in  allusion  to  his  father's 
occupation.  Apprenticed  when  but  seven  years  old  to  a  gold- 
smith, he  proved  so  stupid  in  chiseling  and  so  expert  in 
drawing  that  he  was  transferred  to  the  studio  of  a  neighbor,  in 
whose  service  he  had  an  opportunity  to  study  the  grand  car- 
toons of  Michael  Angelo  and  Leonardo  da  Vinci.  Perhaps  the 
brilliant  future  predicted  for  him  by  the  former  might  have 
been  fulfilled  had  he  not  married  a  lovely  but  unprincipled 
woman,  whose  influence  over  him  proved  unfortunate.  She 
served  as  a  model  for  all  of  his  Madonnas.  We  see  her  in  his 
masterpiece,  the  Madonna  of  the  Harpies,  No.  6,who  looks  down 
from  her  pedestal  upon  St.  Francis  and  St.  John,  and  in  all  of  his 
subsequent  Virgins  and  Holy  Families.  In  both  his  frescoes 
and  oil  painting,  his  coloring  is  tender,  transparent,  and  most 
richly  and  luminously  blended,  his  figures  well  developed  and 
graceful,  though  sometimes  wanting  in  refinement,  and  he 
himself  just  lacking  enough  nobleness  of  soul,  and  strength  of 
character  to  keep  him  hovering  on  the  border-line  of  immortal 


So  called  from  the  figures  of  harpies,  which  are  decora- 
tively  introduced  on  the  base  of  the  column.    The  Virgin 


Photograph  from  Painting. 
No.  393    San  Giovanni  Chrysostom. 


[Venice] 


DEL  SARTO  (Andrea)  (1487-1531) 


J/A/)(\ViV.i  (W  7 HE  S/'.IA'    FRA  AXGFJJCO. 


AXGEL  CABRIEL^CARLO  DOf.cr. 


MADONNA  AND  CHI Ln-FTLTPPO  UPPL 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


37 


stands  upon  the  pedestal,  holding  the  infant  Christ  in  her 
right  hand,  and  a  book,  which  she  rests  upon  her  knee,  in  the 
left.  Her  robe  is  pink,  the  mantle  blue,  and  over  the  head 
and  shoulders  hangs  a  white  veil.  At  her  feet  are  two  beauti- 
ful angels,  half  in  shadow.  On  the  left  is  St.  Francis,  in  a  robe 
of  gray,  holding  a  crucifix.  On  the  right  stands  St.  John  the 
Evangelist,  in  a  gray  tunic  and  red  mantle,  holding  a  book  in 
•his  hand.  The  arrangement  of  the  composition  is  striking  and 
picturesque,  the  coloring  rich  and  pleasingly  blended,  with  a 
certain  mistiness  of  outline  which  melts  harmoniously  into 
shadow. 

Photographs  from  Paintings. 

No.  358    The  Assumption  of  the  Virgin. 

[Florence] 

This  picture  shows  the  great  versatility  of  del  Sarto.  The 
Virgin  is  raised  toward  heaven  most  gracefully,  and  there 
is  an  atmosphere  almost  like  Correggio's  in  the  glory. 

No.  359    Dispute  Upon  the  Trinity,  [Florence] 

A  picture  without  action,  but  of  an  imposing  character. 

No.  360    Last  Supper.  [Florence] 

Few  presentations  of  this  subject,  except,  of  course,  Leon- 
ardo da  Vinci's,  can  compare  with  this  in  vividness  of  effects 
and  dramatic  grouping." 

No.  361    St.  John  the  Baptist.  [Florence] 

No.  362    Repose  in  Egypt.     {Madonna  of  the 
Sack.)  [Florence] 

A  fresco  painted  in  1525.  Remarkable  for  the  calm  and 
dignified  composition. 

Photographs  from  Drawings. 

No.  491    Head  of  a  girl.  [Florence] 

No.  492    Portrait  of  a  woman.  [Vienna] 

No.  493    Holy  Family.  [Paris] 

No.  494    Study  of  a  hand.    (For  the  Madonna  of 
the  Harpies  ;  see  No.  6.)  [Florence] 


38 


REPRODUCTIONS  OP  WORKS  OF  ART  IN  THE 


No.  495  Birth  of  the  Virgin.  [Florence] 
No.  496    Head  of  a  child.  [Florence] 


ROMANO  (Giulio  Pippi)  (1492-1546) 

A  favorite  pupil  of  Raphael,  but  not  a  good  painter. 
Photograph  from  Drawing. 
No.  721     Chimera.  [Venice] 


VAGA  (Perino  del)  (1500-1507) 

studied  drawing  under  Ghirlandajo,  and  was  a  useful 
assistant  to  Raphael. 

Photograph  from  Drawing. 
No.  660    The  Entombment.  [Paris] 


CORREGIO  (Antonio  AUegri)  (1494-1534) 

**A11  that  concerns  his  training  is  uncertain;  there  is  no 
clue  to  the  formation  of  his  totally  new  method  of  painting, 
or  to  the  characteristics  of  his  style.  These  characteristics 
are  sweetness  of  expression  and  ineffable  grace  of  pose ;  light 
in  color,  or  a  certain  luminous  quality  which  irradiates  and 
trans jfigures.  In  facility  of  handling,  in  absolute  mastery 
over  the  difficulties  of  foreshortening,  in  the  management  of 
light  and  shade  as  distributed  over  vast  spaces  and  affecting 
multitudes  of  figures,  this  master  had  no  rival."  {Cyc.  P. 
<St  P.)  At  the  same  time  his  sweetness  sometimes  cloys,  and 
his  grace  degenerates  into  affectation,  so  that  later  critics  do 
not  rank  him  so  high  as  do  the  earlier  ones. 

Photographs  from  Paintings. 
No.  387    Danae.  [Rome] 

Love  appearing  to  Danae  in  a  shower  of  gold. 
No.  388     Virgin  Adoring  Infant  Jesus.  [Florence] 
No.  389    Adoration  of  the  Shepherds.  [Dresden] 


WESTERN  GALLERY  OP  ART,  KANSAS  CITY,  MO. 


89 


Photographs  from  Drawings. 

No.  488    Adoration  of  the  Shepherds.  [Dresden] 

No.  489    Nude  man.  [Vienna] 

No.  490    Mercury^  Venus  and  Cupid.  [Paris] 


CELLINI  (Benvenuto)  (1500-1570) 

A  great  Florentine  metal  worker,  whose  character  and  con- 
sequent picturesque  history  are  best  accounted  for  by  his 
autobiography.  He  had  commissions  from  numerous  high 
dignitaries,  but  as  most  of  his  work  was  in  small  articles  of 
precious  metals,  many  of  them  have  been  lost.  He  both  de- 
signed and  executed  his  bronzes,  the  most  celebrated  of  which 
is  the  "  Perseus." 

Photographs. 
No.  668    Neptune^  Birth  of  Venus,  Etc. 

[Dresden] 

No.  752    Bronze  figure.  [Florence] 


BORDONE  (Paris)  1500-1570) 

His  portraits  are  his  best  works.    All  his  heads  are  fine." 
Photographs  from  Paintings. 

No.  395    The  Fisherman  presenting  the  ring  of  St. 

Marie  to  the  Doge.  [Venice] 

No.  758  Virtumnus  and  Pomona.  [Paris] 
PRIMATICCIO  (Francesco)  (1504-1570) 

Worked  for  Francis  I  on  the  decorations  of  Fontainebleau. 
He  is  said  to  have  executed  the  first  stucco  work,  and  the  first 
frescos  of  any  account  in  France.  His  pictures  in  oil  are  rare, 
and  none  certain."    (Ci/c.  of  P.  <Sb  P.) 

Photograph  from  Red  Chalk  Drawing. 


No.  689    Ulysses  Bound  to  the  Mast.  [Vienna] 


40 


REPRODUCTIONS  Or  WORKS  OF  ART  IN  THE 


RICIARELLI  (Volterra)  (1509-1566) 

The  best  pupil  of  Angelo.'' 

Photograph  from  Drawing. 

No.  658    Nude  man  hent  low  vnth  head  letween  his 
arms. 


TINTORETTO  (Jacopo  Robusto)  (1512-1594) 

So  called  because  he  was  the  son  of  a  silk  dyer.  Adopting 
as  his  motto  Titian's  coloring  and  Angelo's  drawing,  he  won  a 
reputation  second  to  none  in  his  time,  but  whether  he  ever 
attained  the  high  standing  he  set  for  himself,  is  a  question  on 
which  critics  disagree.  All,  however,  regard  him  as  one  of  the 
greatest  masters.  His  religious  pictures  are  often  coarse,  but 
his  mythological  works  are  more  in  harmony  with  their  sub- 
jects. He  was  fond  of  the  nude,  and  his  female  figures  are 
charming.  His  portraits  are  masterly,  rich  in  color  and  life- 
like. He  painted  so  rapidly  that  he  was  called  "  II  Furioso." 
But  though  he  produced  a  long  list  of  works,  many  assigned 
to  him  are  not  genuine. 

Photograph  from  Drawing. 
No.  673    Birth  of  Christ.  [Vienna] 


MORONI  (Giovanni)  (1525-1578) 

"  A  pupil  of  Moretto.  His  portraits  are  better  than  his 
masterpieces."    {Cyc.  of  P.  &  P.) 

Photograph  from  Drawing. 
No.  714    Coronation  of  the  Virgin.  [Florence] 


CAMBIASO  (Luca)  (1527-1585) 

At  the  age  of  seventeen,  was  selected  to  paint  the  ceiling 
of  the  great  hall  of  the  Piazza  Doria. 

Photograph  from  Drawing. 
No.  560    Figure  of  woman^  draped.  [Paris] 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


41 


VERONESE  (Paul  Cagliari)  (1530-1588) 

Beyond  his  magnificent  performances  as  a  painter,  the 
known  incidents  in  the  life  of  Veronese  are  few.  The  first 
things  which  we  notice  in  his  work  are  the  palatial  splendor, 
grand  architecture,  stately  vistas,  personages  of  easy  and 
affable  dignity  in  sumptuous  costumes,  crowded  assemblies 
and  luxury  of  environment.  By  variety  and  opposition  he  pro- 
duced most  brilliant  effects  of  color  ;  and  yet  his  lines  were 
seldom  bright.  Of  all  Veronese's  paintings,  the  one  which 
has  obtained  a  world  wide  celebrity,  is  the  vast  "Marriage  at 
Cana,"  now  in  the  Louvre.  It  contains  about  a  hundred 
figures  and  heads  ;  those  in  the  foreground  being  larger  than 
life. 

Oil  Painting. 
No.  16    Marriage  of  8t,  Catherine,  (Copy) 

[Florence] 

St.  Catherine  renounces  the  world  and  enters  into  the 
mystic  marriage  with  the  church ;  here  represented  by  the 
infant  Jesus. 

Photographs  from  Paintings* 


No.  392    Rape  of  Europa,  [Venice] 

No.  477     Christ  in  the  House  of  Levi.  [Venice] 

From  Drawings. 

No.  661     Christ  at  Emmaus,  [Dresden] 

No.  662    Head  of  a  negro,  [Paris] 


CARRACCI  (Annibale)  (1560-1609) 

The  most  distinguished  of  his  family.  His  pictures  often 
fail  to  please,  but  it  is  impossible  not  to  recognize  in  them  the 
genius  of  a  master.  He  excelled  in  small  compositions  of  the 
Madonna  and  Holy  Families. 

Photographs  from  Drawings. 
No.  663    Satyr.  [Paris] 
No.  664    Study  of  nude  man,  [Paris] 


No.  665    Boy's  head.  [Paris] 


42 


BEPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


RENI  (Guido)  (15Y6-1642) 

A  pupil  of  the  school  of  the  Carracci.  His  work  grew  so 
excellent  that  he  was  feared  by  his  teachers  and  was  dismissed. 
There  is  much  grace  and  beauty  in  his  work,  but  it  lacks 
vigor  and  strength. 

No.  478    Aurora.  [Rome] 

Generally  considered  his  masterpiece.  It  is  in  the  garden- 
house  of  the  Rospigliosi  palace.  The  sun  god  rides  in  his 
chariot  drawn  over  the  sleeping  world  by  two  horses.  Dawn  flies 
before  him,  and  the  hours  walk  on  either  side  of  the  chariot, 
clasping  hands.  The  first  hour  is  robed  in  delicate  blue,  and 
points  forward,  while  she  looks  back.  The  next  is  in  subdued 
red,  while  the  third  is  clothed  in  a  soft  light  green.  The  god's 
robe  is  red,  turning  to  reddish  gray  in  the  lining.  The  whole 
well  conveys  the  gentle  breeze  and  dewy  freshness  of  the 
morning,  and  the  awakening  activities  of  the  dawn. 


DOMENICHINO  (Zampieri)  (1581-1641) 

The  most  distinguished  painter  of  the  school  of  Carracci. 
His  originality  was  not  large,  but  his  expression  and  color 
commanded  admiration."  His  landscapes  deserve  attention, 
even  when  only  a  background.  They  are  grand  and  solemn, 
and  their  coloring  warm  and  rich. 

Photograph  from  Painting. 
No.  455.     Communion  of  St.  Jerome.  [Rome] 

His  most  noted  work,  considered  by  some  to'be  second  only 
to  Raphael's  "  Transfiguration."    (No.  459.) 

Photographs  from  Drawings. 
No.  666    Head  of  man  with  stylus.  [Vienna] 
No.  721    Burning  of  Martyr.  [Vienna] 


GUERCINO  (Francisco  Barbieri)  (1591-1666) 

Largely  self  taught.  He  is  faithful  to  nature,  and  his 
works  are  lifelike  and  brilliant  in  color,  but  sometimes  very 
heavy  in  the  flesh  shadows. 


western  gallery  of  art,  kansas  city,  mo.  43 
Photograph. 

No.  376    Sahit  Petronilla,  [Rome] 

A  famous  work,  in  which  the  saint  is  being  raised  from  her 
tomb,  to  be  shown  to  her  betrothed. 


SACCHI  (Andrea)  (1598-1661) 

His  color  was  good,  and  he  practiced  a  simplicity  of  treat- 
ment which  is  the  mark  of  great  artistic  power. 

Photograph. 

No.  497    Name  unknown.  [Rome] 


DOLCI  (Carlo)  (1616-1686) 

School  of  Rosselli.  He  painted  few  historical  pictures. 
His  best  works  are  Madonnas  and  penitent  saints.  These  he 
painted  with  delicacy  and  grace.  There  is  much  sentiment  in 
them,  which  frequently  becomes  affectation. 

Oil  Painting. 

No.  19    The  Angel  Gahriel.    (Copy)  [Florence] 


Unknown  Italian  Artists 

Photographs  from  Drawings. 
No.  718    JBack  view  of  nude  man.^ 
No.  716    Bust  of  woman^  side  view. 
No.  720    Head^  full  front. 

No.  685    Unknown  Master.  [Paris] 


TURINI 

No.  713    Photograph  from  Drawing. 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THB 


Flemish  School. 


EYCK  (Jan  Van)  (1390-1440) 

'^Experimented  in  oils,  resins,  and  other  natural  and 
artificial  mediums,  and  the  result  was  his  adoption  of  varnish 
painting,  which  the  experience  of  four  hundred  and  fifty 
years  has  proved  to  be  wonderfully  durable."  Jan  used  an 
oleo-resinous  varnish  and  its  immixture  with  the  colors  gives 
ground  for  the  supposition  that  it  was  nearly  colorless. 
While  for  a  long  time,  probably  tempera  continued  to 
be  used  more  or  less  with  the  varnish  color,  the  fact 
of  the  introduction  of  the  latter  to  painters  exerted  a 
vast  influence  on  the  art  of  painting.  Fresco  and 
tempera  were  the  only  mediums  before  varnish  paint  was  dis- 
covered. The  fresco  painter  was  hurried  by  the  fear  that  his 
plaster  wall  would  dry  before  his  painting  was  finished;  the 
painter  in  tempera  was  a  slave  to  the  drying  of  a  wash  ;  both 
were  hurried  by  their  materials.  But  the  oil  painter  has  the 
one  inestimable  comfort  of  never  being  hurried  by  his  material. 

*'The  value  of  such  a  condition  of  things  to  the  intellectual 
and  imaginative  faculties  is  beyond  all  estimate.  It  has  been 
their  emancipation  from  the  tyranny  of  matter.  The  dis- 
covery of  the  unctuous  medium  gave  us  a  means  of  expression 
which  was  not  only  far  more  powerful  than  any  other  of  the 
graphic  arts,  but  also  incomparably  more  fiexible  and  various 
in  its  efficiency.  The  proof  of  this  lies  in  the  fact  that  all 
civilized  nations,  though  differing  widely  in  their  feelings 
about  nature  and  their  tastes  in  art,  find  that  oil  painting  best 
expresses  their  own  peculiar  idiocy ncrasy.  To  realize  the 
effect  which  this  discovery  had  on  art  criticism,  we  have  only 
to  recall  the  wonderfully  feeble  state  of  such  literature  in 
antiquity,  when  only  definite  form  was  understood,  and  nobody 
knew  anything  about  those  visual  effects  on  which  the  modern 
art  of  painting  is  founded.  (Condensed  from  Hammerton^s 
"  The  Graphic  Arts.'') 

Photograph  from  Painting. 

No.  179    Portrait  of  Benolfino  of  Lucca  and  his 
wife,  [London] 

Van  Eyck  is  seen  at  his  best  in  portraits.  He  frequently 
signed  them  on  the  frame  and  added  the  motto  "  As  well  as 
I  can." 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


45 


MEMLING  (Hans)  (1425-1495) 

No.  181    St.  Ursula.  [Bruges] 


MATSYS  (ftuentin)  (Massys)  (1460-1530) 

"Matsys  was  among  the  last  of  the  Gothic  painters  in 
Flanders,  and  yet  he  and  Mostert  began  the  introduction  of 
Italian  features  in  their  paintings, and  the  example  spread  until 
the  indigenous  Flemish  art  became  a  thing  of  the  past." 
(Van  Dyke.) 

Photograph  from  Painting. 
No.  174    The  Money  Lenders.  [Windsor] 


BRUEGHELS    (  ) 

No.  645    From  drawing.  [Vienna] 


HOEFNAGEL  (George)  (1545-1600) 

Photograph  from  Drawing. 

No.  633    Crucifixion.  [Dresden] 
Family  of  the  donors  at  the  cross. 


RUBENS  (Peter  Paul)  (1577-1640) 

One  of  the  most  brilliant,  accomplished  and  versatile 
geniuses  in  the  whole  range  of  art.  Keen  delight  in  action 
and  a  strong  love  for  superabundant  physical  strength  are  the 
elements  of  his  style,  with  brilliant,  fresh  and  splendidly 
treated  coloring,  which  seems  sometimes  quite  beyond  the 
value  of  the  subject.  He  was  the  founder  of  a  large  school, 
and  as  he  has  left  over  two  thousand  pictures,  many  of  them 
must  have  been  largely  painted  by  his  pupils.  He  considered 
it  unnecessary  to  do  more  than  important  parts  of  his  later 
pictures. 


46 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


Oil  Painting. 

No.  2  -Meleagre  and  Atalanta,    (Copy)  [Dresden] 

Artemis  having  sent  the  Calydonian  boar  to  ravage  the 
country,  Meleagre,  with  his  hunters,  undertook  to  slay  the 
beast.  Through  the  persuasions  of  Meleagre,  his  love, 
Atalanta,  was  allowed  to  join  the  hunt.  She  wounded  the 
boar,  which  was  then  dispatched  by  Meleagre.  In  the  picture, 
he  is  represented  as  presenting  the  head  to  his  mistress.  "The 
figure  of  Meleagre  is  well  painted,  but  Atalanta,  a  corpulent 
and  nearly  nude  princess,  is  awkwardly  posed.  The  flesh 
tones  are  rendered  with    the  painter's  usual  dexterity." 

Photographs  from  Paintings. 

No.  177    Descent  from  the  Gross.  [Antwerp] 

No.  178  ^TJie  Havoc  of  War.  [Florence] 

No.  754    Portrait  of  Helen  Fourment.  [Munich] 

Life  size,  seated.  Painted  with  marvelous  skill  and  judi- 
cious management  of  color. 

From  Drawings. 

No.  567    Group  of  five  women  and  five  men. 

[Vienna] 

No.  568    Adoration  of  the  Magi.  [Paris] 

No.  569    Bust  of  Helen  Fourment.,  second  wife  of 
the  artist^  and  f  requently  his  m,odel, 

[Florence] 


SUSTERMAN  (Justus)  (1597-1681) 

Born  in  Antwerp  ;  when  quiie  young  he  went  to  Florence 
where  he  passed  his  life.  He  was  an  excellent  draughtsman, 
a  fine  color ist,  free  in  his  execution,  and  altogether  realistic. 
He  painted  portraits  and  historical  and  religious  subjects. 

Oil  Painting. 


No.  20    Portrait  of  the  Prince  of  DenmarTc. 

(Copy)  [Florence] 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO, 


47 


MIEL  (Jan)  (1599-1664) 

Photograph  from  Painting. 
No.  186    Portrait  of  MieL 


•VANDYCK  (Antony)  (1599-1641) 

Was  a  pupil  of  Rubens  ;  spent  several  years  in  Italy,  and 
was  strongly  influenced  by  the  Italian  schools.  He  was  made 
court  painter  to  Charles  I.  of  England  and  remained  in  that 
country  for  the  rest  of  his  life.  His  style  assumed  an  inde- 
pendent form,  and  that  refinement  which  made  him  peculiarly 
the  painter  of  the  upper  classes.  His  work  is  distinguished  by 
incomparably  clear,  soft,  and  finely  treated  coloring. 

Oil  Painting.  '""^Z't.'^^^  ^ 

No.  4    Children  of  Charles  I.     (Copy)  ^gFtoronoa]  fi^tyt 
Photographs  from  Paintings.  (%n^6h„.^  rQe^^i^ 
No.  182    The  Repose  in  Egypt.  [Florence]  A;^;^ 

No.  183    Portrait  of  Charles  1.  [Paris]  (7 

Full  length,  standing  ;  horse  at  right. 

From  Drawings. 
No.  570    Portrait  of     Artus  Wolf  (Bert,  [Vienna] 
No.  571    Two  Heralds  of  the  English.  [Vienna] 

No.  572    Figure  of  a  woman^  with  an  enlarged 
detail  of  the  right  hand,  [Florence] 

No.  573    Bust  of  an  infant,  [Paris] 


SNYDERS  (F.)  (1579-1657) 
No.  611    From  drawing. 


[Dresden] 


48 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


TENTERS  (1610-1690) 

Photographs  from  Paintings. 
No.  176    The  Village  Fete.  [Paris] 
No.  176a  Kitchen  Interior, 


HUYSMANS  (Cornelis)  (1648-1727) 

No.  630    From  drawing,  [Dresden] 


Dutch  School. 


VAN  LEYDEN  (Lucas)  (U94-1533) 

The  leading  artist  of  the  early  period. 
No.  634    From  drawing,  [Dresden] 
No.  635    From  drawing,  [Florence] 

BEHAM  (Hans  Siebald)  (1500-1550) 

One  of  the  best  pupils  of  Durer. 
No.  636    From  drawing.  [Vienna] 


HALS  (Franz)  (1584-1666) 

In  giving  the  sense  of  life  and  personal  physical  presence, 
he  was  unexcelled.  What  he  saw  he  could  portray  with  the 
most  telling  reality.  His  brush  was  very  broad  in  its  sweep, 
very  sure,  very  true.  As  a  painter  pure  and  simple,  he  is 
almost  to  be  ranked  beside  Velasquez."    {Van  Dyke.) 

Photograph  from  Painting. 


No.  175    Reunion  of  the  Corps  of  Archers  of  St. 

Adrian.  [Harlem] 
g^^x — 


WESTERN  GALIiERY  OE  ART,  KANSAS  CITY,  MO. 


49 


RUISDAEL  (Saloman  van)  (1600-1670) 

In  composition  he  was  good,  but  his  art  had  only  a  slight 
basis  upon  reality,  though  it  looked  realistic  at  jSrst  sight. 

Photograph  from  Drawing. 

No.  642    Landscape.  [Vienna] 


REMBRANDT  VAN  RYN  (1607-1669) 

Was  born  at  Leyden  and  began  the  study  of  art  in  the 
studio  of  Peter  Lastman,  who  had  acquired  a  taste  for  rather 
artificial  effects  of  light — a  fact  which  was  destined  to  lead 
Rembrandt  to  the  most  finished  development  of  his  marvellous 
chiaroscuro.  A  certain  golden  transparency  pervades  his 
earlier  works,  which  reflect  his  happy  domestic  life  with  his 
lovely  wife,  Saskia  van  Ulenburg.  After  her  death,  and  amid 
his  great  financial  embarrassments,  Rembrandt's  energy  and 
elasticity  of  temperament  enabled  him  to  produce  his  finest 
works.  In  his  earlier  years,  he  devoted  himself  to  a  simple,  un- 
artificial  presentation  of  nature.  A  deep  and  passionate 
intensity  of  temperament  impelled  him  to  a  new  style,  in 
which  figures  were  made  use  of  only  to  solve  problems  of  the 
most  daring  kind.  Bold,  venturesome  experiments  with 
fantastic  and  even  gloomy  effects  of  light  predominate.  His 
biblical  pictures  portray  scenes  that  suggest  every  day  life. 
There  is  no  trace  in  these  of  the  ideal  sense  of  form  that 
marks  the  Italians,  but  masterful  skill  and  strength,  com- 
pensate for  the  lack  of  beauty,  by  life-like  individuality, 
warmth  of  sentiment,  and  picturesque  charm.  In  his  later 
portraits,  he  strives  more  and  more  after  effect,  by  which  his 
figures  appear  bathed  in  a  flood  of  artificial  light.  He  works 
in  the  strong  shadows  with  a  bolder  and  broader  touch.  In 
his  latest  work,  his  clear  tone  is  often  quite  lost  in  a  gloomy 
effect  of  brown  and  gray.  He  has  been  called  the  "Shakes- 
peare of  painters  and  the  prince  of  etchers."  The  striking 
lights  and  shades  are  seen  in  his  etchings  and  engravings,  as 
well  as  in  his  paintings.  His  paintings  number  about  six 
hundred,  and  his  engravings  and  etchings  four  hundred. 

Oil  Paintings. 
No.  11    Portrait  of  an  unknown  man,  (Copy) 

tl/iUc^  [Florence] 


50 


REPRODUCTIONS  OF  WORKS  Or  ART  IN  THE 


No.     13    Portrait  of  himself  and  wife.  (Copy) 

[Dresden] 

Photographs  from  Paintings. 
No.  190    Supper  at  Emmaus.  [Paris] 

No.  191    The    Parable  of  the   Laborers  in  the 
Vineyard.  [Frankfort] 

No.  192    The  Bath.  [Amsterdam] 

No.  \^^^ Portrait  of  Rembrandt  (near  60  years 
of  age)  [London] 

No.  194  Danae.                        [St.  Petersburg] 

No.  195  Portrait  of  Rembrandt,  [Paris] 

No.  196  Venus  and  Cupid.  [Paris] 

No.  197  Portrait  of  a  man.  [London] 

^  No.  198  Flayed  Ox.  [Paris] 

No.  199  Portrait  of  Rembrandt.  [Paris] 

No.  200    Portrait  of  a  young  man. 

[St.  Petersburg] 

No.  201    Simeon  in  the  Temple.  [The  Hague] 

No.  202    Rembrandt^ s  Mother  (half  length) 

[St.  Petersburg] 

No.  203    Portrait  of  an  Old  Jew.  [St.  Petersburg] 

No.  204     Woman  taken  in  adultery.  [London] 

No.  205    Susanna  at  the  bath.  [The  Hague] 

No.  206    Portrait  of  William  Barggraaf. 

[Dresden] 

No.  207    Portrait  of  an  old  man.  [St.  Petersburg] 


WESTERN  G1.LI.ERY  OF  ART,  KANSAS  CITY,  MO. 


51 


No.  208    Portrait  of  a  woman,    [St.  Petersburg] 

No.  209    Portrait  of  an  old  lady.  [London] 

No.  210    Portrait  of  a  Burgomaster.  [Antwerp] 

No.  211    Portrait  of  Margaret  ha  Hendrihse  von 
Bilderdyk.  [Frankfort] 

No.  212  '^Portrait  of  Rembrandt,  [Paris]^^^^^ 

No.  213    Portrait  of  a  RahU,  [London]  ^  ^ 

No.  214    Portrait  of  a  man,  [Dresden] 

No.  215    Portrait  of  a  7nan,         [St.  Petersburg] 

No.  216    Portrait  of  an  old  man,  \^t,  V^t^rshviTg] 

No   217^  Portrait  of  Elizabeth  Jacohsdochter  Bas,  ^jblfO 

[Amsterdam]   A.  / 

No.  218  Wo7nan  Bathing,  [Paris] 

No.  219  Partrait  of  an  old  Jew,  [St.  Petersburg] 

No.  220  Portrait  of  an  old  man,  [Paris] 

No.  221  Remhrandfs  Mother.     [St.  Petersburg] 

No.  222  A  RahU.  [London] 

No.  223  Woman  Bathing,  [Paris] 

No.  224    Queen  Artemisia  receiving  the  cup  con- 
taining the  ashes  of  her  hushand,  (Detail) 

[Madrid] 

No.  225    Lesson  in  Anatomy  {Dr,  Tulp), 

]The  Hague] 

This  picture,  painted  for  the  Corporation  of  Surgeons  at 
Amsterdam,  was  kept  there  until  1828,  when  the  company 
resolved  to  dispose  of  it  for  a  charitable  institution  supported 
by  them.  There  being  some  danger  of  its  leaving  the  country 
in  case  of  a  sale,  his  majesty,  the  king,  in  order  to  prevent 


53 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


this,  became  the  purchaser  for  the  sum  of  thirty-six  thousand 
five  hundred  florins.  It  presents  Professor  Tulp  giving  a 
lecture  on  anatomy  in  the  presence  of  seven  medical  men. 
The  subject  is  extended  on  a  table  in  front,  and  the  professor, 
habited  in  a  suit  of  black,  relieved  by  a  white  pendant  collar 
and  a  large  slouched  hat,  sits  on  the  further  side  of  it.  He 
appears  to  have  been  operating  on  the  body  and  hand,  as  he 
holds  a  surgical  instrument  and  is  addressing  himself  to  his 
auditors.  On  the  right  is  a  man  with  an  oval  countenance 
and  sandy  beard,  his  left  hand  placed  on  his  breast.  Close  to 
the  latter  is  a  figure  habited  in  a  pink  silk  dress  and  repre- 
sented in  profile  and  leaning  forward ;  behind  these  stand 
three  men,  one  attired  in  dark  gray  figured  silk  dress ;  one 
remarkable  for  his  animated  countenance,  holds  a  paper  in  his 
hand  on  which  is  written  the  names  of  the  several  persons. 
On  the  opposite  side  and  front  sit  two  men,  one  in  a  dark 
brown  vest  and  full  plaited  white  ruff,  has  his  hand  on  his 
knee,  while  the  other  wears  a  gray  dress  and  similar  ruff,  and 
is  seen  in  profile.  The  company  are  assembled  in  an  arched 
building,  against  the  wall  of  which  is  attached  a  x^aper  bear- 
ing the  name  of  the  artist  and  date  1632.  The  excellent  pro- 
duction is  finished  throughout  with  the  most  elaborate  care, 
accompanied  with  admirable  purity  and  freshness  of  color  and 
force  of  effect. 

No.  226    Portrait  of  Remhrandt,  [Vienna] 

No.  227    The  Sweeper,  [St.  Petersburg] 

No.  228    Portrait  of  a  lady  holding  a  fan, 

[London] 

No.  229    Portrait  of  a  young  woman  holding  a 
pink,  [St.  Petersburg] 

No.  230    Portrait  of  a  man.  [Paris] 

No.  231    Fragment  of  ^^Dr,  Dayman^ s  Anatomy 
Lesson, "  [Amsterdam] 

No.  232  ^  The  Betrothed  Jeioess,  [Amsterdam] 

No.  233    Landscape  with  Tohias  and  the  Angel. 

[London] 


i 


I 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


53 


No.  234    Abraham  at  Table  with  the  Angels. 

[St.  Petersburg] 

No.  235    The  Rabbi  Manasseh  Ben  Israel. 

[St.  Petersburg] 

•No.  236    Portrait  of  a  Turk,        [St.  Petersburg] 

No.  237    Portrait  of  Rembrandt.  [Vienna] 

No.  238    Portrait  of  the  Calligrapher  Willemszon 
von    Copenol.  [St.  Petersburg] 

No.  239    Portrait  of  Rembrandt s  Mother. 

[St.  Petersburg] 

No.  240    Portrait  of  a  man.  [Dresden] 

No.  241  ^Officers  of  the  Guild  of  Cloth -Weavers,  (f^. 

(Staal  Meesters)  [Amsterdam]  %^  fy 

No  words  can  describe,  nor  print  convey,  any  impression  of 
this  creation.  It  is  one  of  Rembrandt's  three  masterpieces, 
many  critics  even  placing  it  above  ''The  Night  Watch"  and 
"  The  Anatomy  Lesson."  The  canvas  is  nine  feet  wide  by  six 
high.  Behind  a  table,  which  stands  out  covered  with  a  rich 
Persian  rug,  are  grouped  five  middle-aged  men.  A  figure, 
probably  an  officer  of  the  Guild,  stands  in  the  rear  listening 
with  a  half -smile  to  the  dialogue.  All  these  cloth  merchants 
are  looking  in  the  same  direction,  as  if  someone  had  just  inter- 
rupted the  reading  of  a  register  of  the  Guild.  They  are  dressed 
alike,  black  puritan-shaped  hats,  and  the  same  sombre-colored 
coats  ;  the  only  bit  of  color  amongst  the  five  is  a  richly  fringed 
glove  which  the  one  seated  on  the  right  holds  before  him.  But 
around  and  about  and  upon  them  a  golden  glow  of  lambent 
color  is  shed,  which  more  than  two  centuries  has  hardly 
dimmed. 

No.  242    Portrait  of  a  man.  [London] 

No.  243    Portrait  of  a  woman.  [London] 

No.  244    Portrait  of  a  man.  [London] 

No.  245    Abraham^ s  Sacrifice.        (Detail  of  257) 

[St.  Petersburg] 


54 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


No.  246  Landscape.  [Florence] 
No.  247  Samson^ s  Wedding.  [Dresden] 
No.  248  The  Shipbuilder  and  his  Wife.  [London] 
No.  249  Portrait  of  Bembrandt.  [Dresden] 
No.  250  The  Nun  and  the  Child.  [St.  Petersburg] 
No.  251    Sashia^  Benibrandfs  first  wife. 

[Dresden] 

No.  252    Portrait  of  a  young  man. 

[St.  Petersburg] 

No.  253    An  Old  Peasant  Woman  Weighing  Gold. 

[Dresden] 

No.  254    Portrait  of  a  woman.      [St.  Petersburg] 

No.  255    Portrait  of  Bembrandt  as  an  Officer. 

[The  Hague] 

No.  256    The  Adoration  of  the  Magi.  [London] 

No.  257    Abraham^ s  Sacrifice.      [St.  Petersburg] 

No.  258  Portrait  of  a  young  warrior. 

[St.  Petersburg] 

No.  259  Portrait  of  Bembrandt.  [London] 

No.  260  Portrait  of  an  old  man.  [Dresden] 

No.  261  Portrait  of  a  woman.  [Antwerp] 

No.  262  The  Carpenter^ s  Houselwld.  [London] 

No.  263  Portrait  of  Bembrandt.  [London] 

No.  264  The  Tranquil  Sea.  [Vienna] 

No.  265  Portrait  of  an  old  ma7i.  [Dresden] 

No.  266     Beconciliation  of  Isaac  and  Jacob. 

[St.  Petersburg] 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


55 


No.  267    The  Burgomaster  Pancras  and  his  Wife, 

[London] 

No.  268    A  Young  Jewess,  [St.  Petersburg] 

No.  269  Portrait  of  a  woman,  [Paris] 
No.  "ilQ  ^Sortie  of  the  Banning  Cock  Company. 

(The  Night  Watch)  [Amsterdam] 

Painted  in  1642.  Twenty-nine  life-sized  civic  guards  are 
introduced,  issuing  pell-mell  from  their  club  house.  Such 
guilds  of  arquebusiers  had  been  painted  admirably  before,  no- 
tably by  Frans  Hals  (No.  175),  but  Rembrandt  determined  to 
throw  life  and  animation  into  the  scene.  It  is  full  of  move- 
ment, and  one  can  almost  hear  the  barking  of  the  dog.  The 
dominant  color  is  the  citron-yellow  uniform  of  the  lieutenant 
wearing  a  blue  sash,  while  a  Titian-like  red  dress  of  a  mus- 
keteer, the  black  velvet  dress  of  the  captain,  and  the  varied 
green  of  the  girl  and  drummer  all  produce  a  rich  and  har- 
monious effect.  The  background  has  become  dark  and  heavy 
by  accident  or  neglect,  and  the  scutcheon  on  which  the  names 
are  painted  is  scarcely  to  be  seen. 

No.  271    Descent  from  the  Cross,  [St.  Petersburg] 

No.  272    Portrait,,  said  to  he  the  Countess  of  Des- 
mond, [Windsor] 

No.  273    Potijphar^s  Wife  Accusing  Joseph, 

[St.  Petersburg] 

No.  274    Portrait  of  a  man,         [St.  Petersburg] 

No.  275    Portrait  of  Remhrandfs  Mother, 

[St.  Petersburg] 

No.  276    The  Entombment,  [Dresden] 

No.  277    Sashia^  Rembrandf  s  fir^t  wife, 

[Dresden] 

No.  278     The  Return  of  the  Prodigal  Son, 

[St.  Petersburg.] 


56 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


No.  279    The  Incredulity  of  St.  Thomas. 

[St.  Petersburg] 

No.  280    Portrait  of  Remhrandt.  [Florence] 

No.  281    The  Holy  Family.         [St.  Petersburg] 

No.  282  Sacrifice  of  Manoah  and  his  Wife. 

[Dresden] 

No.  283  Diana  and  Endymion.  [Vienna] 

No.  284  Portrait  of  an  old  man.  [St.  Petersburg] 

No.  285  Portrait  of  a  merchant  Jew.  [London] 

No.  286  Portrait  of  a  man,  [Paris] 

No.  287  The  Denial  of  St.  Peter.  [St.  Petersburg] 

No.  288    A  Bittern  Suspended  by  its  feet. 

[Dresden] 

No.  289     Woman  Bathing.  [London] 

No.  290    Joseph^ s  Coat.  [St.  Petersburg] 

No.  291    Portrait  of  Rembrandt.   (Detail  of  paint- 
ing No.  13)  [Dresden] 

No.  292    Noli  me  Tangera.  [London] 

No.  293    The  Good  Samaritan.  [Paris] 

"  The  helpless  suffering  of  the  wounded  man  ;  the  curiosity 
of  the  boy  on  tiptoe  ;  the  excited  faces  at  the  upper  window, 
are  all  conveyed  with  masterly  skill."  The  handling  is  broad 
and  free,  while  the  tones  pass  into  a  dull  yellow  and  brown 
with  a  marked  prediliction  for  deep,  rich  red. 

No.  294    The  Angel  Raphael  leaving  Tobias. 

[Paris] 

No.  295    The  Adoration  of  the  Shepherds. 

[London] 


WESTERN  GALLERY  OP  ART,  KANSAS  CITY,  MO. 


57 


Photographs  from  Drawings  and  Etchings. 

No.  560  TJie  death  of  the  Virgin.  [Dresden] 

No.  561  The  descent  from  the  cross,  [Dresden] 

No.  562  Study  of  lion,  [Vienna] 

No.  563  Christ  presented  to  the  people,  [Dresden] 

No.  564  Christ  presented  to  the  people,  [Dresden] 

No.  565  Study  of  a  man,  [Dresden] 

No.  566  A  man  writing  hy  cdndle  light,  [Dresden] 


BOL  (H.)  (1611-1680) 

No.  639    From  drawing.  [Dresden] 


FLINK  (1615-1660) 

Followed  Rembrandt  so  closely  that  his  work  has  passed 
for  that  of  the  master. 

Photograph  from  Painting.  * 

No.  737    Portrait  of  a  young  girl.  [Paris] 


TERBURG  (G.)  (1617-1681) 

"  A  painter  of  interiors,  conversation  pictures  and  small 
portraits.  Though  of  diminutive  scale,  his  work  has  the 
largeness  of  view  characteristic  of  genius,  and  the  skilled 
technic  of  a  thorough  artist.    {Van  Dyke.) 

No.  652    From  drawing,  [Dresden] 


No.  653    From  drawi7Lg, 


[Vienna] 


58 


REPRODUCTIONS  OF  WORKS  OT  ART  IN  THE 


TEMPLE  (Abraham  van  den)  (1622-1672) 

Photograph  from  Painting. 

No.  756    A  iwhleman  and  his  wife  in  their  park. 

[Berlin] 


RUISDAEL  (Jacob  van)  (1625-1682) 

He  is  put  down,  with  perhaps  unnecessary  emphasis,  as  the 
greatest  landscape  painter  of  the  Dutch  school.  His  pictures 
abound  in  mountains,  heavy  dark  woods  and  rushing 
torrents,  and  have  considerable  poetry  in  their  composition, 
gloomy  skies  and  darkened  lights.  In  color  they  are  cold  and 
limited  to  a  few  tones.  He  was  not  appreciated  in  his  own 
time  and  died  in  an  alms  house. 

Photograph  from  Painting. 

No.  185    l^he  Chase.  [Dresden] 

From  Drawings. 
No.  643    Landscape.  [Paris] 
No.  644    Old  Mill.  [Paris] 


STEEN  (Jan)  (1626-1679) 

*'He  satirized  his  own  time  with  little  reserve.  He  was  a 
master  of  physiognomy,  and  at  his  best,  his  groups  were  well 
composed ;  his  color  was  of  good  quality,  and  his  brush  was 
as  hmpid  and  graceful  as  though  painting  angels  instead  of 
Dutch  boors.  He  was  really  one  of  the  fine  brushmen  of 
Holland,  a  man  greatly  admired  by  Reynolds  and  many  an 
artist  since." 

No.  629    From  drawing.  [Dresden] 


BAEN  (Jan) 

No.  609    From  drawing. 


[Dresden] 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


59 


METSU  (Gabriel)  (1630-1667) 

Belongs  to  the  ''Little  Dutchmen,"  so  called  because  of 
the  small  scale  of  their  pictures  and  their  genre  subjects. 

No.  640  I^rom  drawing,  [Vienna] 
.  No.  641    I^rom  drawing.  [Dresden] 


VELDE  (Adrian  van  de)  (1635-1672) 

No.  628    J^rom  drawing,  [Dresden] 


VERELST  (Peter)  (1614-1668) 

Photograph  from  Painting. 
No.  187    Portrait  of  a  lady,  [Paris] 

MIERIS  (Willem)  (1662-1747) 

No.  647    Prom  drawing.  [Paris] 


German  School. 


DURER  or  DUERER  (Albert  or  Albrecht) 

(1471-1528) 

Was  the  son  of  a  goldsmith,  who  designed  that  he  should 
follow  the  same  occupation.  He  was  a  friend  of  Raphael's. 
In  1508  he  was  appointed  court  painter  to  Maximilian  I.,  and 
was  also  patronized  by  Charles  V.  as  court  painter.  Durer 
surpassed  all  painters  and  engravers  of  Germany  in  exuber- 
ance of  imagination  and  in  sublimity  and  correctness  of  design. 
He  was  successful  in  history,  portraits,  and  landscapes.  Vasari 
expresses  the  opinion  that  he  would  have  equaled  the  great 
masters  of  Italy  if  he  had  been  a  native  of  Tuscany  and  had 
studied  in  Rome.    Some  critics  regret  the  absence  of  the  ideal 

0       /  /ln^l^/io  ~^ 


60 


REPRODUCTIONS  Or  WORKS  OF  ART  IN  THE 


in  his  works.  He  is  the  reputed  inventor  of  the  art  of  etching 
and  the  art  of  printing  wood  cuts  in  two  colors.  Among  his 
masterpieces  in  painting  are  a  Crucifixion  "  (1511),  '^Adam 
and  Eve,"  an  Adoration  of  the  Magi,"  and  the  best  known 
of  all  his  paintings,  ^'  The  Knight  and  Death."  His  engravings 
(on  copper)  of  Adam  and  Eve,"  The  Knight  and  Death," 
and  ''The  Revelation  of  St.  John"  (on  wood)  are  very  cele- 
brated. 

'' This  artist,"  says  Michiel,  ''has  become  the  symbol  of 
his  epoch.  An  inexhaustible  imagination,  an  intelligence 
which  could  observe  life  in  its  most  delicate  shades,  a  profound 
sentiment  of  grace,  naivete,  and  sublimity,  and  an  earnest 
spirit  joined  to  the  courage  required  for  protracted  studies, 
were  the  qualities  which  distinguished  him." 


Photographs  from  Paintings. 

No.  184    Adoration  of  the  Kings.  [Florence] 

No.  626    Portrait  of  Durer.  [Munich] 

Photographs  from  Drawings. 

No.  613  [Vienna] 

No.  614  [Paris] 

No.  615  [Vienna] 

No.  616    Nuremberg  Place^  showing  Durer'^s 

house,  [Vienna] 

No.  617    Head  of  a  negro.  [Florence] 

No.  618  [Vienna] 

No.  619  [Vienna] 

No.  620  [Vienna] 

No.  621     View  of  the  Port  of  Antwerp.  [Vienna] 

No.  622  [Vienna] 

No.  623    Study  for  St.  John.  [Vienna] 


i 


-J 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO.  61 

No.  624  The  Virgin  seated  under  a  magnificent 
portico^  holding  the  Infant  upon  her  lap  ; 
at  her  feet  little  angels  and  two  rabbits. 
In  the  foreground^  St,  Joseph,  [Basle] 

No.  625  [Florence] 

No.  627  [Vienna] 

CRANACH  (Lucas)  (1472-1553) 

His  work  was  rather  strained  in  proportions,  and  not  always 
well  drawn,  but  graceful  even  when  not  truthful.  The  lack  of 
aerial  perspective  and  shadow  masses,  gave  his  work  a  queer 
look,  and  he  was  never  much  of  a  brushman.  His  pictures 
were  typical  of  the  time  and  country,  and  for  that  and  their 
strong  individuality,  they  are  ranked  among  the  most  inter- 
esting paintings  of  the  German  school. 

From  Drawings. 
No.  648  [Vienna] 

No.  649  [Vienna] 

No.  650  [Dresden] 

No.  651  [Dresden] 

GRUN  (Hans)  (Grien  or  Baldung)  (1476-1545) 

From  Drawing. 
No.  646  [Vienna] 

DEUTSCH  (Nicolaus)  (1484-1530) 

Photograph  from  Drawing. 
No.  631    The  Watchman,  [Basle] 


HOLBEIN  (Hans)  (The  Younger)  (1497-1554) 

At  an  early  age,  he  removed  to  Basle,  where,  after  practising 
his  art  for  a  time,  he  was  recommended  by  Erasmus  to  the 


62  REPRODUCTIONS  OF  WORKS  OP  ART  IN  THE 

English  chancellor,  Sir  Thomas  More.  He  was  introduced  to 
King  Henry  VIII.,  who  gave  him  abundant  employment  and 
a  large  pension.  He  devoted  himself,  while  in  England,  chiefly 
to  portrait  painting,  and  his  numerous  productions  in  this 
department  are  esteemed  masterpieces.  His  drawings,  upwards 
of  eighty  in  number,  represent  the  principal  personages  of 
Henry  VIII. 's  court.  Among  his  greatest  historical  pictures 
are  the  celebrated  "  Dance  of  Death,"  The  Adoration  of  the 
Shepherds  and  Kings,"  and  a  Last  Supper."  His  works," 
observes  Cunningham,  ''have  sometimes  an  air  of  stiffness, 
but  they  have  always  the  look  of  truth  and  life.  He  painted 
with  great  rapidity  and  ease,  wrought  with  his  left  hand,  and 
dashed  off  a  portrait  at  a  few  sittings." 

Photographs  from  Paintings. 


No.  188  Portrait  of  ErasmiLS,  [Paris] 

No.  189  Portrait  of  Ann  of  Cleves.  [Paris] 
No.  755 

From  Drawings. 

No.  574  The  Lady  Barkley.  [Windsor] 

No.  575  [Basle] 

No.  576  The  Lady  Audley.  [Windsor] 

No.  577  Southwell  Knight.  [Windsor] 

No.  578  [Basle] 

No.  579  [Windsor] 

No.  580  [Basle] 

No.  581  The  Lady  Henegham.  [Windsor] 

No.  582  Brooke.,  Lord  Cohham.  [Windsor] 

No.  583  [Basle] 

No.  584  Anna  Bollein,  Qmen.  [Windsor] 

No.  585  The  Lady  Eliot  [Windsor] 

No.  586  The  Strange  Knight.  [Windsor] 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  HO. 


63 


No.  587  [Dresden] 

No.  588  [Basle] 

No.  589  [Windsor] 

No.  590  Tlie  Duchess  of  Suffolh.  [Windsor] 

•  No.  591  [Basle] 

No.  592  [Windsor] 

No.  593  [Basle] 

No.  594  [Basle] 

No.  595  [Basle] 

No.  596  The  Eliott  Knight.  [Windsor] 

No.  597  [Basle] 

No.  598  [Windsor] 

No.  599  The  Lady  Mentas.  [Windsor] 

No.  600  [Basle] 

No.  601  EdAvard,  Prince  of  Wales.  [Windsor] 

No.  602  [Basle] 

No.  603  [Windsor] 

No.  604  [Basle] 
No.  605 
No.  606 

No.  607  [Basle] 

No.  608  [Basle] 


FENEZ  (Geo.)  (1500-1550) 

No.  638    From  drawing.  [Florence] 


64 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


ALDEGREVER  (Heinrich)  (1502-1558) 

No.  637    From  drawing.  [Dresden] 

MENGS  (Anton  Rafael)  (1728-1779) 

Ppotograph  from  Painting. 
No.  759    Portrait  of  a  lady ,  [Paris] 

KLEUGEL  (Johann  C.)  (1751-1824) 

No.  612    From  drawing.  [Dresden] 


REINHARD  (Johann)  (1761-1847) 

No.  632    From  drawing.  [Dresden] 


HERMAN  (Karl)  (1802-1880) 

No.  610    From  drawing.  [Dresden] 


Spanish  School. 


VELASftUEZ    (Don   Diego   Rodriguez  de 
Silva  y)  (1599-1660) 

Born  at  Saville  of  a  noble  family  of  Portuguese  origin,  he 
early  manifested  the  artistic  talent  and  discovered  that  the 
study  of  nature  was  the  surest  guide  to  perfection  for  an  artist. 
He  painted  pictures  of  the  common  life  which  he  saw  and 
nothing  of  which  he  had  not  the  model  before  him.  He  ad- 
hered to  color,  form  and  outline  of  whatever  he  represented, 
and  acquired  wonderful  skill  in  taking  likenesses.  In  1622  he 
went  to  Madrid  and  gained  the  position  of  court  painter.  The 
service  of  Philip  IV.  gave  Velasquez  full  opportunity  to  perfect 
himself  as  a  portrait  painter,  for  the  King  was  never  weary  of 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO.  65 

multiplying  pictures  of  himself,  his  Queens  and  children. 
Equally  strong  in  historical  subjects,  portraiture,  genre  and 
landscape,  he  treats  all  with  the  composure  of  a  great  and 
tranquil  intelligence.  Equally  master  of  form,  light,  color  and 
perspective,  his  canvas  everywhere  shows  the  hand  of  a  skilled 
technician.  One  of  the  greatest  exponents  of  the  theory  of 
naturalism,  he  painted  no  more  than  he  could  see;  and  if 
romance  and  heroic  emotion  lay  far  without  his  ken  and  beyond 
his  reach,  he  had  such  insight  into  the  plain  truths  of  things, 
such  an  absolute  command  of  means,  as  to  rank  him  with  the 
kings  of  art. 

Oil  Painting. 

No.  18    Portrait  of  Philip  IV,  (Copy)  [Florence] 

Photographs  trom  Paintings. 
No.  296    Portrait  of  a/n  old  woman,  [Madrid] 
No.  297    Portrait  of  Philip  IV,,  King  of  Spain, 

[Paris] 

No.  298    Portrait  of  Infante  Don  Ferdinand  of 
Austria,  [Madrid] 

No.  299    Portrait  of  Infanta  Maria  Teresa  of 
Austria,  [Madrid] 

No.  300    Portrait  of  Buffoon  of  Philip  IV,  sur- 
named  Don  Juan  of  Austria,  [Madrid] 

No.  301    Portrait  of  Dwarf  of  Philip  IV.,  sur- 
named  Don  Antonio  Ingles, 

No.  302    Portrait  of  Infanta  Maria  Margarita, 

[Paris] 

No.  303    St,  Anthony,  Abbot,  Visiting  St,  Paul, 
Hermit,  [Madrid] 

In  a  dreary  solitude,  three  scenes  are  represented.  On 
the  right,  the  stranger  knocking  at  the  door  of  the  cell,  which 
the  hermit  has  hollowed  out  of  the  rock ;  in  the  center,  the 
two  old  men,  engaged  in  holy  conference,  are  receiving  the 
double  allowance  of  bread  brought  by  the  raven  ;  on  the  left, 


66  REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 

St.  Anthony  is  seen  praying  over  the  body  of  St.  Paul,  while  I 
two  lions  are  digging  with  their  claws  the  grave  of  the  dead  | 
hermit.     Excepting  for  the  fact  of  there  being  several  scenes  j 
in  the  same  picture,  which  is  no  longer  allowed,  the  original 
painting  might  be  considered  a  masterpiece.     The  landscape 
is  treated  with  great  breadth  and  freedom. 

No.  304  Portrait  of  Don  Pedro  Moscoso  de  Alta- 
mira^  Dean  of  the  Royal  Chapel  at 
Toledo^  afterward  Cardinal,  [Paris] 

No.  305    Portrait  of  a  Sculptor.  [Madrid] 

No.  306  Portrait  {equestrian)  of  Philip  /F!, 
King  of  Spain.  (See  No.  18)  [Florence] 

No.  307    Portrait  of  Donna  Mariana  of  Austria. 

[Madrid] 

No.  308  Portrait  of  Don  Antonio  Alonzo  Pi- 
mental.  [Madrid] 

No.  309    Portrait  of  Conde  Duque  de  Oliverez. 

No.  310  Portrait  (eq.)  of  Philip  IV.,  King  of 
Spain.  [Florence] 

No.  311  Portrait  of  Philip  IV.,  King  of  Spain 
(in  youth).  [Madrid] 

No.  312  Portrait  of  Philip  IV.,  King  of  Spain 
(in  hunting  costume).  [Madrid] 

No.  313    Portrait  of  a  young  woman.  [Paris] 

No.  314    The  Idiot.     ^'El  Bobo  de  Coria.'' 

[Madrid] 

No.  315    Adoration  of  the  Shepherds.  [London] 

No.  316  Portrait  of  Infante  Don  Balthazar 
Carlos  (at  the  age  of  six).  [Madrid] 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO.  67 

No.  317    Portrait  (eq,)  of  Infante  Don  Balthazar 
Carlos.  [Madrid] 

No.  318    Portrait  of  Donna  Mariana  of  Austria, 

[Madrid] 

.No.  Zl^    Portrait  of  Pope  Innocent  X.  {J.  B,(i%^ 
Pamfili),  157Jf-1655.  [Rome]  ^  ^ 

No.  320    Portrait  of  Conde^  Duque  de  OUverez, 

[St.  Petersburg] 

No.  321    ^sop,    (Full  length)  [Madrid] 

No.  322    Portrait  of  the  Artist  (by  himself). 

[Rome] 

No.  323    Portrait  of  Cardinal  Caspar  de  Borja 
[Borgia) .  [Frankfort] 

No.  324    Philip  IV.  at  Prayer.  [Madrid] 

No.  325    Portrait   (eq.)    of   Conde,   Duque  de 
Oliverez.  [Madrid] 

No.  326    IleadofjEsop.    (Detail  of  No.  321) 

[Madrid] 

No.  327    An  Old  Monk.  (Attributed) 

[St.  Petersburg] 

No.  328    Portrait  of  Infanta  Maria  Margarita 
Theresa  of  Spain.  [Frankfort] 

No.  329    Menippus  (a  cynic  philosopher). 

[Madrid] 

No.  330    Spanish  Landscape.  [The  Hague] 

No.  331    Menippus.    (Detail  of  No.  329) 

[Madrid] 


68 


REPRODUCTIONS  OP  WORKS  OF  ART  IN  THE 


No.  332    Portrait  of  Dwarf  of  Philijo  IV.^  called 
''El  Primoy  [Madrid] 

No.  333  The  Coronation  of  the  Virgin,  [Madrid] 

No.  334  Christ  of  the  Column.  [London] 

No.  335  Portrait  of  Philip  IV.  [St.  Petersburg] 

No.  336  Portrait  of  a  man.  [Dresden] 

No.  337    Portrait    of  Infante   Don  Balthazar 
Carlos.  [The  Hague] 

No.  338    Mars.  [Madrid] 

No.  339    Portrait  of  Infante  Don  Balthazar  Car- 
los^ son  of  Philip  IV  [Madrid] 

No.  340    Portrait  (eq.)  of  Donna  Margarita  of 
Austria^  Queen  of  Philip  III.  [Madrid] 

No.  341    Portrait  of  Dwarf  surnamed  Don  Se- 
bastian de  Mora.  [Madrid] 

No.  342    Crucifixion.  [Madrid] 

Painted  in  1639  for  the  Convent  of  San  Placido.  It  has  not 
the  dim  landscape  and  lowering  clouds  usual  in  the  treatment 
of  this  subject,  and  the  absolute  blackness  of  the  background 
seems  to  intensify  the  light  color  of  the  figure,  which  is  severely 
simple  and  sculpturesque. 

No.  343    Portrait  of  Buffoon  of  Philip  IV.  ^  sur- 
named Pablellos  de  Valladolid.  [Madrid] 

No.  344    Portrait  of  Infante  Don  Carlos^  second 
son  of  Philip  III  [Madrid] 

No.  345    The  Child  of  Vallecas.  [Madrid] 

No.  346    Dead  Soldier.  [London] 
Kiiown  by  the  name  of  * 'Orlando,  Dead."  (Attributed.) 


PORTRAIT  OF  UNKNOWN  MAN— REMBRANDT. 


JL4/)().\\VA  AND  CHILP-MURIIJ.O. 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


69 


No.  347    Portrait   (eq.)   of    Queen  Isabella  de 
Bourbon,  [Madrid] 

No.  348*""''^^  Maids  of  Honor  {Les  Maninas).  ^ 

[Madrid] 

Representing  the  Infanta  Margarita  and  her  maids  of  honor 
and  dwarfs.  In  respect  to  aerial  and  linear  perspective, 
local  color  and  animal  and  human  life,  it  is  considered  almost 
unrivaled. 

No.  349    The  Surrender  of  Breda.  [Madrid] 

Also  known  as  "The  Lances"  from  the  line  of  soldiers  with 
uplifted  pikes  relieved  against  the  sky,  behind  the  Marquis  of 
Spinola,  who,  with  graceful  dignity,  receives  the  keys  from 
Prince  Justin  of  Nassau. 

Remarkable  alike  for  the  feeling  and  expression  of  the 
figures  and  for  technical  execution,  with  added  interest  from 
having  the  portrait  of  the  artist  at  the  left.  Was  etched  by 
the  French  artist  Laguillermie  in  1875. 

No.  350    The  Meeting  of  Artists.  [London] 

Gives  a  most  successful  attempt  at  solving  the  crucial  diffi- 
culty of  representing  with  equal  honors,  many  persons  on  a 
single  canvas  and  has  added  interest  from  showing  the  por- 
traits of  Velasquez  and  Murillo  at  the  left. 

No.  3511/ The  Tapestry  Weavers  {Las  Rilanderas), 

[Madrid] 

A  large  composition  in  the  original,  showing  the  interior  of 
the  royal  manufactory  dimly  lighted,  with  a  group  of  work- 
women occupied  with  the  various  employments  of  their  trade, 
while,  in  the  background,  three  ladies  are  regarding  some  com- 
pleted tapestries  hung  for  their  inspection.  "  This  picture  has 
all  the  marvelous  blending  of  color  of  Velasquez's  latest  works, 
a  soft  and  rounded  outline,  great  transparency  of  tone,  simple 
handling  and  breadth  of  treatment." 

No.  352    The  Drinkers  ( '^Los  Burrachos  " ). 

[Madrid] 

The  original  painting  life-size,  a  composition  of  nine  figures 
representing  a  young  peasant  crowned  with  vine  leaves,  en- 
throned upon  a  wine  cask,  initiating  a  novice  into  the  Bacchic- 


70 


REPRODUCTIONS  Or  WORKS  OF  ART  IN  THE 


rites.  The  whole  composition  teems  with  the  very  essence  of 
revelry  and  its  humor  entitles  Velasquez  to  the  name  of  the 
* 'Hogarth  of  Andalusia." 

No.  353    The  Forge  of  Vulcan  ;  or,  Apollo  at  the 
Forge  of  Vulcan,  [Madrid] 

(Original  lOV^  x  8  ft.) 

Executed  in  Italy;  it  marks  the  change  to  Velasquez's  second 
period,  showing  free  handling  and  skill  in  anatomy.  It  re'p- 
resents  Vulcan  in  his  cavern  with  his  companions, hearing  from 
Apollo  the  tale  of  the  infidelity  of  Venus.  Had  the  speaker 
been  conceived  and  painted  with  as  much  force  and  truth  as 
are  his  auditors,  this  picture  would  have  been  unexcelled  in 
dramatic  effect.  But  unhappily,  Apollo  is  wanting  in  all  the 
attributes  of  beauty  and  grace  with  which  poetry  has  invested 
him.  The  modeling,  action  and  treatment  of  light  and  shade 
are  masterly." 

No.  354    Portrait  of  a  man.  [Dresden] 

No.  355    Portrait  {eg,)  of  Philip  IV  [Madrid] 

No.  356    Portrait  of  Philip  III.  (Madrid] 

From  Drawings. 

No.  558    Head  of  man,  [Florence] 

No.  559    Head  of  a  young  loy^  loAighing, 

[Dresden] 


MXJRILLO  (Bartolome  Esteban)  (1618-1682) 

At  the  age  of  twenty-four,  he  went  to  Madrid,  where  he 
derived  advantage  from  the  friendly  counsels  of  Velasquez  and 
perfected  himself  in  his  art.  Having  returned  to  Seville,  in  1645, 
he  soon  acquired  a  high  reputation  in  historical  pictures,  por- 
traits, and  other  branches  of  painting.  He  was  patronized  by 
the  King  of  Spain  and  adorned  the  churches  of  Madrid, 
Seville  and  Cadiz  with  his  works.  As  a  colorist,  he  surpassed 
all  other  Spanish  artists.  His  productions  are  remarkable  for 
originality,  fidelity  to  nature,  freedom  of  touch,  and  softness, 
splendor  and  harmony  of  color.  He  delighted  and  excelled  in 
the  representation  of  virgin  saints  and  beggar-boys  at  play. 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


71 


His  ideas,  models,  and  mode  of  expression  were  purely 
Spanish.  He  has  justly  been  called  The  Painter  of  the  Con- 
ception," and  has  represented  this  subject  with  unrivaled 
grace  and  tenderness.  He  has  varied  the  age,  the  style  of 
beauty,  and  the  surroundings  of  the  Virgin,  in  almost  number- 
less pictures,  but  all  breathe  the  same  purity  and  spotless 
innocence ;  all  are  the  fitting  representation  of  that  Mother  of 
Christ  who  holds  so  high  a  place  in  the  religion  of  the  South. 
Among  his  masterpieces  are  The  Marriage  of  St.  Catherine," 
^'A  Young  Beggar,"  a  ''Holy  Family,"  ''St.  Elizabeth  of 
Hungary"  and  "St.  Anthony  of  Padua."  Murillo  died  in 
consequence  of  a  fall  from  a  scaffold  while  painting  the  upper 
part  of  the  large  picture  of  the  "Marriage  of  St.  Catherine." 

Oil  Painting.  /f^7^^--<^ 

No.    17    Madonna  and  Child.  (Copy)  [Florcuti^] 

Photograph  from  Painting. 

No.  357    The  Young  Beggar.  [Paris] 


French  School. 


CLOUET  (Francois)  (1500-1572) 
No.  726    Photograph  from  drawing. 


POUSSIN  (Nicolas)  (1593-1665) 

Founder  of  the  classic  and  academic  in  French  art,  and  in 
influence,  the  most  important  man  of  the  century.  His  work 
showed  great  intelligence  and  had  an  elevated  style  that  made 
it  impressive.  It  reflected  nothing  French,  however,  and  he 
himself  might  be  put  down  as  an  Italian  of  the  Decadence.  His 
drawing  was  correct  but  severe ;  the  composition  agreeable 
but  formal. 

Photograph  from  Painting. 


[Dresden] 


No.  171  Bacchanal. 


[Paris] 


73 


REPRODUCTIONS  OP  WORKS  OF  ART  IN  THE 


LORRAINE  (Claude)  (1600-1682) 

Called  Lorraine  from  the  province  in  which  his  native  town 
was  situated.  He  differed  from  Poussin  in  making  his  pictures 
depend  more  strictly  upon  landscape  than  upon  figures.  His 
three  great  charms  are  :  the  unlimited  space  expressed  in  his 
pictures,  effected  by  the  use  of  soft  vapor  to  define  separate 
distances,  and  equaled,  perhaps,  only  by  Corot ;  the  effects  of 
air,  shown  in  veiling  and  subduing  outlines  and  tints  ;  and  the 
brilliant  effects  of  light  on  a  charming  coloring." 

Photograph  from  Painting. 

No.  466    The  Embarkation  of  the  Queen  of  Sheba. 

[London] 

From  Drawings. 
No.  731    Landscape,  [Paris] 
No.  732    Landscape.  [Florence] 
No.  733    Landscape.  [London] 
No.  734  Landscape. 


CHAMP AIGNE  (Philippe  de)  (1602-1674) 

Photographs  from  Paintings. 

No.  168    ""Les  Religieuses^'''^  Portraits  of  Mother 
Agnes  and  The  Artisfs  Daughter, 

[Paris] 

No.  169    Portrait  of  Richelieu.  [Paris] 


WATTEAU  (Antoine)  1684-1721) 

The  first  truly  national  French  painter,  portraying,  from 
thoroughly  French  promptings,  the  French  life  around  him. 
His  subjects  were  trifling  bits  of  fashionable  scenes  from  the 
opera,  fetes  and  balls.  His  characters  are  beautifully  unreal, 
but  his  work  was  original,  decorative  and  charming.  He  in- 
troduced a  new  spirit  and  new  subject  into  art,  the  epic  style 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


73 


of  the  Italian  being  laid  aside  in  favor  of  genre  treatment.  He 
was  a  brilliant  painter,  not  a  great  one  in  thought  or  imagina- 
tion. Unfortunately  he  set  a  bad  example  by  his  gay  subjects, 
and  those  who  came  after  him  carried  his  gaiety  and  lightness 
of  spirit  into  exaggeration. 

No.  470    The  Embarkation  to  the  Isle  of  Cythera. 

[Paris] 

No.  471  Indifferenty  {The  Indifferent  One.) 

[Paris] 

No.  472    ^'La  Finette^  (The  Cunning  Woman.) 

[Paris] 

Photographs  from  Drawings. 
No.  728    Head  of  a  young  girl.  [Paris] 
No.  729    Study  of  two  figures,  [Vienna] 
No.  730    Study  in  drapery.  [Paris] 


LANCRET  (1690-1743) 

No.  724    Photograph  from  drawing.  [Dresden] 


VAN  LOO 

Photograph  from  Painting. 
No.  179    Portrait  of  a  woman.  [Paris] 


CHARDIN  (1699-1779) 

Photograph  from  Painting. 
No.  173    The  Blessing. 


[Paris] 


74 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


BOURCHARDON  (1698-1762) 

Photograph  fbom  Drawing. 
No.  727    Vintage  Time.  [Paris] 

LE  NAIN 

Photograph  from  Drawing. 
No.  725    Feasants.  [Paris] 

GREUZE  (Jean  Baptiste)  (1725-1805) 

Photograph  from  Painting. 
No.  167    Portrait  of  the  Artist.  [Paris] 


PRUDHON  (Peter  Paul)  (1758-1823) 

Photograph  from  Painting. 
No.  172    The  Assumption  of  the  Virgin. 


GIRODET-TRIOSON  (1767-1824) 

Photographs  from  Paintings. 
No.  468    Sleeping  Endymion. 
No.  757    The  Deluge. 


GROS  (Antoine  Jean)  (1771-1835) 

The  greatest  of  David's  pupils.  His  distinction  springs 
more  from  the  fact  that  he  ceased  to  imitate  the  followers  of 
the  strictly  classic  school  and  began  to  originate.  By  choosing 
for  his  subjects  Napoleonic  battle-pieces,  he  unconsciously  led 
the  way  toward  romanticism. 

Photograph  from  Painting. 


[Paris] 


[Paris] 
[Paris] 


No.  469    After  the  Battle  of  Eylau. 


[Paris] 


WESTERN  GALIiERY  OF  ART,  KANSAS  CITY,  MO.  75 

GERICAULT  (Jean  Louis)  (1791-1824) 

Gros  had  made  innovations  on  the  classic  in  his  battle- 
pieces,  but  the  first  positive  dissent  from  classic  teachings  was 
made  by  Gericault  in  the  Salon  of  1819,  with  ''Raft  of  the 
Medusa." 

Photograph  from  Painting. 
No.  467    Portrait  of  a  man,  [Paris] 


CHEVANNES  (Puvis  de)   (1824  ) 

Photograph  from  Painting. 
No.  464    The  Poor  Fisherman,  [Paris] 


LA  GAZE 

Photograph  from  Painting. 
No.  465    Portrait  of  an  artist,  [Paris] 


English  School. 


GAINSBOROUGH  (Thomas)  (1727-1780) 

Photograph  from  Drawing. 
No.  735    Portrait  of  Gainsborough,  [London] 


BONNINGTON  (R.  P.)  (1801-1828) 

No.  736    Photograph  from  painting  [Paris] 


76  REPRODUCTIONS  OF  WORKS  Or  ART  IN  THE 


SttssiaH  School. 


MUNKACSY  (M.  de)  (I-i^4»g^ 

No.  479  Christ  before  Pilate.  [Philadelphia] 
Nos.  480-487    Details  of  above. 


rORTRAir  OF  I'h'/XCE  OF  nENJlLAAVC—SrS'fER.UA.V. 


PORTRAIT  OF  ITHTIP  IV.~VELASQUEZ. 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


77 


SCULPTURE. 


Casts  from  the  Originals. 

No.  73    Nihe  ( Victory).    (Reduced)  [Paris] 

Found  on  the  isle  of  Samothrake,  in  a  much  more  muti- 
lated condition  than  here  represented.  A  Parian  marble 
female  figure  of  colossal  proportions,  and  fully  draped.  She 
has  just  alighted  on  the  prow  of  a  ship,  and  sweeps  down  with 
lightning  speed  ;  the  powerful  form,  with  its  rushing  drapery, 
seeming  to  force  a  way  for  the  imposing  goddess  of  victory. 
The  prow  was  found  in  an  even  more  mutilated  state,  but  has 
been  slowly  fitted  and  supplemented,  so  that  the  statue  stands 
once  more  upon  its  fitting  base,  as  it  stood  at  the  head  of  a 
long  valley  filled  with  the  statues,  stoa  and  temples  of  the 
shrine. 


No.  55    Apollo  Belvedere.  [Rome] 

The  original  figure  is  in  the  Vatican,  where  it  has  stood 
since  the  time  of  Michael  Angelo,  and  takes  its  name  from 
that  of  the  room  in  which  it  is  contained,  the  enclosed  portico, 
Belvedere,  beautiful  view. 

The  god  is  represented  stepping  lightly  forward ;  his  beau- 
tiful, manly  body  naked,  save  for  a  light  chlamys,  which  falls 
from  his  left  shoulder  over  the  arm  with  which,  it  was  formerly 
supposed,  he  held  his  bow.  The  head,  turned  a  little  toward 
the  side,  is  raised  in  an  attitude  full  of  spirit ;  the  clear  eye 
seems  to  follow  the  effect  of  the  arrow  that  has  just  left  the 
string  ;  and  an  alert,  vigorous  life  animates  the  proudly  parted 
lips,  and  breathes  from  the  dilated  nostrils.  It  is  thus  that 
one  might  picture  the  god  of  light  at  the  moment  when  he 
had  launched  the  fatal  shaft  against  the  Python,  and  his  whole 
god-like  beauty  was  still  thrilling  with  the  noble  wrath  that 
filled  his  soul.  There  is  something  wonderfully  striking,  bold, 
and  full  of  action,  in  the  impression  that  the  work  produces ; 
and  however  much  the  rythmic  harmony  of  the  form,  the 
exquisite  curve  of  the  outlines,  and  the  nobility  of  the  whole 
structure  of  the  body,  may  speak  of  the  immortal  beauty  of 
the  god,  the  observer  is  nevertheless  most  delighted  by  the 
animated  aspect  of  the  head,  the  fiery  life  of  the  proud  features. 
Schnaase  rightly  calls  the  Apollo  the  most  brilliant  piece  of 


78 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


sculpture  of  ancient  times.  It  cannot  be  denied  that  the  effort 
of  the  artist  to  give  the  effect  of  the  moment  of  action  is  carried 
so  far  as  to  produce  something  startling  and  striking ;  and, 
although  the  somewhat  theatrical  impression  which  the  statue 
makes  may  be  brought  about  by  the  badly  restored  hands  and 
their  peculiar  spread-out  position,  a  tendency  in  that  direction 
is  observable  even  without  this  damaging  addition.  The 
Apollo  was  discovered  in  Porte  d'Anzo  (the  ancient  Antium), 
a  favorite  resort  of  the  earlier  Caesars.  That  it  is,  however, 
only  the  copy  of  a  Greek  original,  has  been  proved  by  the 
discovery  of  other  imitations,  which  may  be  traced  back  to  the 
same  work.  The  most  important  of  these  is  a  bronze  statuette 
belonging  to  Count  Sergei  Stroganoff  at  St.  Petersburg,  and 
discovered  at  Paramythia,  near  Janina,  in  1792.  It  gives  pre- 
cisely the  same  position  and  action  of  the  god,  but  shows  that, 
instead  of  holding  a  bow  in  the  broken  and  falsely  restored  left 
hand,  he  held  the  aegis  with  the  head  of  Medusa,  which  he 
was  extending  toward  some  enemy. 

No.  61     Venus  of  Milo,  (Original  in  the  Louvre) 

[Paris] 

This  statue,  one  of  the  most  celebrated  antiques,  has  been 
attributed  to  a  period  about  400  B.  C.  It  was  found  in  1820 
in  an  excavation  on  the  island  of  Milo,  ancient  Melos.  It  was 
in  two  large  pieces  and  several  fragments  ;  the  knot  of  hair  on 
the  back  of  the  head  was  broken  off  in  the  removal  from  the 
place  of  discovery  to  the  Turkish  vessel  on  which  it  was  first 
embarked.  It  was  evidently  made  in  two  pieces,  as  the  blocks 
are  not  of  exactly  the  same  marble,  the  surfaces  in  contact  are 
hollowed  slightly,  and  the  remains  of  two  holes  which  once 
held  tenons  of  iron  are  visible.  Why  the  sculptor  used  two 
pieces  in  a  country  where  marble  of  suitable  size  was  easily  at- 
tainable, may  never  be  discovered.  The  division  occurs  about 
the  waist,  where  the  plaster  casts  are  usually  separated.  The 
plinth  and  left  foot,  as  well  as  the  arms,  the  tip  of  the  nose, 
and  a  part  of  the  lips  were  gone  ;  and  M.  Clarac  undertook  to 
restore  the  plinth,  foot,  and  damaged  portions  of  the  face. 
During  the  siege  of  Paris  by  the  Prussians,  the  Venus  was 
carefully  boxed  and  placed  beneath  the  surface  of  the  earth  to 
guard  it  from  shells  and  actual  robbery.  The  moisture  re- 
moved the  plaster  used  in  its  restoration,  and  the  marble  when 
restored  to  daylight  was  in  the  same  condition  as  when  first 
discovered.  M.  Felix  Ravaisson,  the  accomplished  keeper  of 
he  antiques  at  the  Louvre,  examined  the  statue  anew  ;  and, 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


79 


in  a  report  made  to  the  government,  as  well  as  in  a  most  inter- 
esting pamphlet  published  in  1871,  urges  that  the  ancient  and 
exquisite  marble  be  left  unharmed  by  the  hand  of  a  restorer,  as 
have  been  the  Theseus  and  Parthenon  marbles  of  the  British 
Museum.  The  nose  and  the  lips  are  necessary  restorations, 
but  the  foot  and  its  support,  whatever  that  may  have  been, 
are  not  needed  to  give  the  noble  sculpture  all  its  grace  and  at- 
tractiveness. The  figure,  from  the  waist  down,  is  inferior 
both  in  marble  and  execution. 

M.  Ravaisson,  referring  to  the  many  representations  of 
Venus  and  Mars,  both  in  sculpture  and  painting,  shows,  with 
much  probability,  that  the  Venus  of  Milo  once  formed  part  of 
a  group  —  Love  disarming  War,  the  loveliest  attributes  of 
woman  restraining  the  rude  hand  of  man,  or  it  may  be  the 
token  of  the  family,  where  woman  is  supreme.  It  must  be 
remembered  that,  according  to  many  authorities.  Mars  was 
the  lawful  husband,  not  the  adulterous  lover  of  Venus.  Of 
these  two  interpretations  the  reader  must  make  choice,  for  no 
one  could  imagine  the  head  to  be  that  of  the  Cyprian  Venus. 

In  speaking  of  this  figure,  Mr.  Lubke  remarks  :  "  This  is 
the  only  statue  of  Venus  that  has  come  down  to  us  which  rep- 
resents the  goddess  and  not  merely  a  beautiful  woman.  The 
power  and  grandeur  of  form,  over  which  the  infinite  charm  of 
youth  and  beauty  is  diffused,  is  in  harmony  with  the  pure  and 
majestic  expression  of  the  head,  which,  free  from  human 
infirmity,  proclaims  the  calm  self-sufficiency  of  divinity.  The 
magnificence  of  this  work,  which,  in  spite  of  its  excellence, 
was  in  nowise  famed  among  the  ancients,  allows  us  to  infer 
to  some  extent  what  must  have  been  the  beauty  of  those 
vanished  creations  which  excited  the  admiration  of  all 
antiquity. 

Mrs.  Lucy  Mitchell  says  :  "The  statue  had  suffered  hard 
usage  previous  to  shipment,  the  sensitive  marble  having  been 
dragged  over  a  stony  road  to  the  shore." 

A  mutilated  inscription,  "  [Alexjandros,  (or  Agesandros), 
son  of  Menides,  of  Antiocheia,  on  the  Meander,  made  the 
work  "  appears  on  a  drawing  of  the  statue  made  by  the  painter 
Debay,  one  year  after  its  discovery.  There  is  the  strongest 
reason  to  believe  that  this  inscription  was  purposely  destroyed 
as  too  inconvenient  a  witness  to  the  late  origin  of  the  statue, 
which  high  officials  desired  to  have  pass  for  a  work  of  the  very 
acme  of  Hellenic  art,  calling  it  a  masterpiece  of  Praxiteles 
himself. 

Had  the  art  world  at  that  time  been  familiar  with  the 
Pergamon  sculptures  of  the  much  later  second  century  B.  C, 
the  date  of  the  great  statue  would  have  been  evident  from  the 


80 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


similarity  to  them  in  style,  while  the  shape  of  the  inscribed 
letters  would  doubtless  also  have  betrayed  its  kinship  to  the 
works  of  that  age. 


No.  57     Venus  de  Medici,  [Florence] 

One  of  the  most  famous  antique  female  statues  now  in 
existence,  ranking  with  the  Apollo  Belvedere.  It  is  uncertain 
where  it  was  found.  It  was  once  in  the  gardens  of  the  Medici 
at  Rome,  and  was  moved  thence  to  Florence  some  time  during 
the  seventeenth  century.  The  marble  bears  the  mark  of  rough 
usage.  The  left  forearm  and  all  of  the  right  arm  are  modern 
restorations  by  Ferratta,  to  whom  are  due  the  too  slender 
fingers. 

In  the  original,  the  ears  are  pierced  for  ornaments  and  the 
arm  shows  the  mark  of  an  armlet.  It  is  inscribed  as  by  Cleo- 
menes,  and  belongs  to  the  era  of  Caesar  and  Augustus. 

''High  as  this  work  stands  from  the  softness  of  its  treat- 
ment, from  the  harmonious  rythm  of  the  lines,  and  from  the 
delicate  beauty  of  the  slender,  youthful  form,  it  remains  far 
inferior  in  feeling  to  the  works  of  the  earlier  period.  The 
beauty  of  a  goddess  in  her  unconscious  majesty  is  not  repre- 
sented here  as  in  the  Venus  of  Milo  ;  we  see  nothing  but  the 
charms  of  a  coquettish  woman,  who,  from  her  apparently 
modest  bearing,  seems  to  challenge  the  admirer,  whose  notice 
she  is  seeking. 

She  is  one  of  the  very  distant  changes  rung  on  that  cele- 
brated art  creation  of  antiquity,  the  Cnidian  Aphrodite 
(Venus)  of  Praxiteles.  The  old  authors  are  filled  with  the 
fame  of  the  latter  and  they  relate  that  the  Bithynian  king, 
Nicomedes,  offered  the  Cnidians  the  payment  of  their  state 
debt  in  exchange  for  this  wonderful  work.  The  artist  had  rep- 
resented the  goddess  entirely  nude,  but  had  modified  this  bold 
innovation  by  making  her  left  hand  about  to  take  up  a  gar- 
ment, as  though  she  had  just  emerged  from  the  bath,  while 
with  her  right  hand  she  modestly  shielded  her  person. 

''  The  Medician  Venus,  when  found,  was  broken  into  eleven 
pieces,  only  the  hands  and  a  portion  of  the  arms  were  wanting. 
There  were  ornaments  in  the  ears,  and  her  elegantly  arranged 
hair  was  gilded.  She  is  sprung  from  the  Cnidian  Venus,  only 
her  nakedness  did  not  now  need  to  be  accounted  for  by  the 
bath.  The  dolphin  by  her  side  is  merely  a  support  and  has  no 
reference  to  her  having  sprung  from  the  sea."  (Muller 
Ancient  Art  and  Its  Remains.) 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO.  81 

DONATELLO  (1386-1468) 

There  is  a  powerful  masculine  energy  displayed  in  every- 
thing which  Donatello  undertook,  and  his  earlier  work  more 
especially  shows  a  deep  study  of  the  antique.  An  effort  after 
sharp  individualization,  however,became  a  characteristic,  and, 
as  compared  with  this,  beauty  was  a  matter  of  indifference  to 
him.  It  entered  his  work  but  rarely  and,  as  it  were,  by  ac- 
cident. 

No.  53    Bust  of  a  young  girl  {giovinetta). 
No.  55    Profile  of  a  you7\g  woman. 

No.  56    Profile— St,  Cecilia, 

From  a  marble  in  the  possession  of  Lord  Elcho. 

No.  62    Head  of  a  laughing  child,  [Vienna] 
From  a  marble  in  the  Nuller  collection. 

No.  63    Head  of  Niccolo  da  TJzzano, 

No.  66    Profile — young  St,  John, 

No.  68    Bmt  of  young  St.  John. 

No.  70    Bust  of  a  young  woman.  [Paris] 

From  a  sculpture  in  wood,  reproducing  Cecilia  Gonzaga. 
(Attributed). 

No.  77    Head  of  a  child.  [Paris] 


ROBBIA  (Luca  della)  (1400-1481) 

One  of  the  best  Tuscan  sculptors  of  the  fifteenth  century. 
Most  of  his  figures  are  extremely  beautiful,  and  of  noble  ac- 
tion, and  the  drapery  is  treated  purely  and  well.  His  numerous 
glazed  terra-cottas  form  the  most  attractive  ornaments  of  nearly 
every  church  about  Florence. 

No.  54    Head  of  Vecchio. 

No.  59    Bust — Virgin  and  Infant,  (Bas  relief) 

[Florence] 

Lunette  over  the  door  of  the  Chapter  of  the  Novicetates  in 
the  church  of  Santa  Croce. 


82 


REPRODUCTIONS  OP  WORKS  OF  ART  IN  THE 


POLLAJOLO  (Antonio  del)  (1429-1498) 

An  eminent  Italian  sculptor,  who  was  also  a  painter  and 
goldsmith.  He  is  excellent  in  composition  and  in  knowledge 
of  anatomy. 

No,  52    A  young  soldier. 

No.  69    Portrait  of  an  unknown  man. 
From  a  terra-cotta  without  glaze.  (Attributed). 


SETTIGNANO  (Desiderio  da)  (1431-1484) 

A  pupil  of  Donatello.  Raphael's  father  speaks  of  his  deli- 
cate, sweet  and  captivating  style. 

No.  64    Infant  Jesus  holding  in  Ids  hand  a  crown 
of  thorns. 

This  ^'Bambino"  was  carried  by  the  children  in  the  pro- 
cession that  celebrated  the  burning  of  vanities,"  instigated 
by  Savonarola. 

No.  78    Head  of  child — with  base. 


FIESOLE  (Mino  da)  (1431-1494) 

His  work  is  praised  for  its    sweetness  and  light." 

No.  51    Bust  of  Bishop  Vescovo  Leonardo  Salu- 
tati.  [Florence] 

From  the  Duomo  di  Fiesole. 
One  of  the  most  vivid  and  finished  portraits  ever  made  in 
marble." 


VERROCCHIO  (Andrea)    (Clone  de  Michele) 

(1435-1488) 

Called  Verrocchio  on  account  of  the  correctness  of  his  eye. 
As  the  teacher  of  da  Vinci,  he  exercised  a  powerful  influence 
upon  Italian  art.    (See  page  13.) 


Wl^STBRN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


83 


No.  65    Boy  playing  loith  a  dolphin.  [Florence] 

From  an  exquisite  bronze  fountain  in  the  court  of  the  Pal- 
azzo Vecchio. 

"  Nothing  can  be  gayer  or  more  Jively  than  the  expression 
and  action  of  this  child,  and  there  is  no  modern  bronze  com- 
bining such  beautiful  treatment  with  such  perfection  of  art. 
A  half  flying,  half  running  motion  is  represented,  its  varied 
action  still  true  to  the  center  of  gravity."  (Rumohr.) 

No.  74    David  ( Victorious)  with  the  head  of  Goli- 
ath. [Florence] 
From  bronze  in  the  National  Museum. 


MAJANO  (Benedetto  da)  (U42-1498) 

One  of  the  most  important  and  pleasing  artists  of  the  time. 

No.  60    Architectural  hase  with  festoons  of  fruit. 

No.  67    Relief  from  hase  of  altar. 

No.  71    Bust  of  Pietro  Mellini^  a  Florentine  mer- 
chant. [Florence] 
In  the  National  Museum. 


ROVEZZANO  (Benedetto  da)  (1490-1550) 

An  Italian  sculptor  born  near  Florence. 
No.  50    Candelabra.  [Florence] 

Ornate  panel  from  the  altar  in  the  Church  of  the  Holy 
Trinity. 

No.  72    Candelabra.  [Florence] 
Ornate  panel  from  the  altar  in  the  Church  of  the  Holy 
Trinity. 

No.  75     Ornamental  column,  [Florence] 

From  the  above  named  altar. 
No.  76     Ornamental  column.  [Florence] 

From  the  above  named  altar. 


84 


REPRODUCTIONS  OF  WORKS  OF  ART. 


Photographs  from  Sculpture. 

No. 

744 

lorso. 

[Florence] 

No. 

745 

Jupiter. 

[Vatican] 

No. 

746 

fortune. 

[Vatican] 

No. 

747 

Polymnie. 

[Paris] 

No. 

748 

Venus. 

[Paris] 

No. 

749 

AmpeLos. 

[Florence] 

No. 

750 

Pertinax, 

[Vatican] 

No. 

751 

tamtinus. 

[Vatican] 

No. 

752 

trom  Bronze  hy  Cellini. 

[Florence] 

No. 

753 

Lion  attacking  a  man. 

[Paris] 

WBSTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


85 


OMISSIONS. 

No.  370    Miracle  of  St.  MarJc  {Tintoretto).  (See 
page  40)  [Venice] 
Nos.  371-2  Solari. 
No.  373  Sassoferrato. 
No.  555  Garofalo. 
No.  654  Zasinger. 
No.  667  IlPordenone. 
Nos.  683-4    Fra  Bartolomeo.    (Page  26) 
No.  711    Lippi.    (Page  10) 
No.  712    Carpaccio.    (Page  19) 
No.  717    Unknown  Master. 
No.  723  Grandi. 
No.  739  Schidone. 
Nos.  741-2    Da  Vinci.    (Page  20) 


ERRATA. 


Page  12— For  ''L.  Cole,"  read  "T.  Cole." 
Page  15 — Botticelli  (reference  to  photograph),  for  **No. 
445,"  read  '^No.  433." 

Page  38— For    No.  721,"  read  "  No.  719." 
Page  40— For  "  No.  560,"  read    No.  740." 
Page  63— for    Penez  "  read  "  Pencz." 
Page  71— Murillo's  Madonna,  instead  of    Florence"  read 
'*Rome." 


86 


REPRODUCTIONS  OF  WORKS  OF  ART  IN  THE 


INDEX. 


(Catalogue  of  numbers  on  page  7.) 

Abraham  at  Table  with  Angels  {Rembrandt)  53 

Albertinelli   23 

Aldegrever,  H  64 

Anatomical  Lesson,  Tulp's  (Rembrandt)  51 

Dayman's    52 

Angel  Gabriel  [Dolci)  43 

Angelo  24 

Angelico,  Fra   9 

Apollo  at  the  Forge  of  Vulcan  (Velasquez)  70 

Belvedere  77 

Aurora  (Guidi  Rent)  42 

Baen,  Jan  58 

Bartolommeo  26 

Barbarelli  30 

Bazzi  26 

Beham,  H     48 

Bellini,  Gentile  11 

"      Giovanni  11 

Bigordi,  Tomaso  19 

Bol,  H  57 

Bennington  75 

Botticelli,  Sandro  14 

Bordone,  Paris,  39 

Bouchardon  74 

Brueghels  45 

Buonarotti,  Angelo   24 

Calumny  (Botticelli)  16 

Cambiaso  40 

Carpaccio  19 

Carracci,  A  41 

Casts  77 

Ceiling  of  Sistine  Chapel  (Angelo)  25 

Cellini  39 

Champaigne  72 

Chardin  73 

Chevannes  75 

Children  of  Charles  I  (Van  Dyck)  47 


WESTERN  GALLERY  OP  ART,  KANSAS  CITY,  MO. 


87 


Christ  Before  Pilate  (MunJcacsy)  76 

Claude  Lorraine  72 

Clouet  .71 

Concert  (Oiorgione)  ! . !  .30 

Conegliano,  II  „  23 

Corregio  .38 

Cranach,  L   ,  61 

Credi,  L  .23 

Dante  (Giotto)   9 

Danae  (Corregio)  38 

DelSarto  36 

Deutsch,  N  61 

Dolci  43 

Domenichino  42 

Donatello  81 

Durer,  A  59 

' '     Portrait  of  (Durer)  60 

Dutch  School  48 

Errata  85 

Eyck,  Jan  van  44 

Fabriano,  Gentile     9 

Fiesole,  Giovanni   9 

"      Mino  da  82 

Flemish  School   44 

Flink  57 

Flora  (Titian)  29 

Forge  of  Vulcan  (Velasquez)  69 

Fra  Angelico   9 

' '    Bartolommeo  26 

Gainsborough  75 

*  *         Portrait  of  (Gainsborough)  75 

Gericault   ..75 

German  School  59 

Ghirlandajo   9 

Giorgione  30 

Giotto   Q 

Giovanni,  Fiesole  

Good  Samaritan  (Rembrandt)  5^ 

Girodet  7^ 

Grun,H  6f 

Grenze  7I 

* '    Portrait  of  (Grenze)  ^4 

Gros  4 


88 


REPRODUCTIONS  OT  WORKS  OF  ART  IN  THE 


Guercino,  II  42 

Guido  Reni  42 

Hals,  F  48 

Havoc  of  War  (Eubens)  46 

Herman,  K  64 

Hoefnagel  45 

Holbein  61 

Huysmans,  C    48 

II  Cavaliere  26 

II  Vecehio  30 

Italian  School   9 

Klenglel,  J  64 

Jjb,  Gaze  75 

Lancret  73 

Le  Nain  74 

Lesson  in  Anatomy,  Tulp's  (Rembrandt)  51 

Lesson  in  Anatomy,  Dayman's  (Rembrandt)  52 

Leyden,  L.  Van  48 

Lippi,  Fillippino  10 

Lippi,  Fra  Filippo  10 

Lorraine  72 

Lovini  24 

Luini,  Bernardino  14 

Madonna  of  the  Star  (Angelico)  10 

Enthroned  (Bellini)  12 

and  Infant  (Botticelli)  17 

"  Saints  (Credi)  23 

"  Child  (Murillo)  71 

"       Sistine  (Raphael)  32 

della  Sedia    32 

of  the  Chair    32 

"       of  the  Goldfinch    33 

"  Grand  Duke    33 

"       diFoligno    33 

of  the  Harpies  (Sarto)  36 

Sack    37 

Litta  (Vinci)  21 

"       of  the  Rocks   "   21 

"  Scales    21 

Pesaro  (Titian)  28 

Magdalene    28 

Magnificat  (Botticelli)  15 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


89 


Majano  83 

Mantegna  13 

Marriage  of  St.  Catherine  (Veronese)  41 

Massaccio   10 

Matsys  45 

Massy  s  .45 

Meleagre  and  Atalanta  (Buhens)  46 

Memling  45 

Mengs  64 

Metsu  59 

Michael  Angelo  24 

Miel  47 

Mieris   59 

Mino  da  Fiesole  82 

Mona  Lisa  (Vinci)  21 

Moroni  40 

Munkaczy  76 

Murillo  70 

N'ight  Watch  (Rembrandt)  55 

Nike  77 

Omissions  85 

Palma  30 

Pencz,  G  63 

Pertinax  84 

Perugino  14 

Pietro  Vannuci  14 

Piombo  36 

Pollajolo  82 

Pope  Clement  I  (Raphael)  35 

Julius  II    33 

Silvester  I    34 

**    Innocent  X  (Velasquez)  67 

Poussin  71 

Prima ticcio   39 

Prince  of  Denmark  (Susterman)  46 

Prudhon  74 

Raphael  31 

Kaphael,  Portrait  of  [Raphael)  35 

Reinhard,  J  64 

Rembrandt  4:9 

Rembrandt  and  Wife  (Rembrandt)  50 

u        t<     ii  _   51 

u        ii     ii  .  "   53 


90 


BEPBODUGTIONS  OF  WORKS  OF  ART  IN  THE 


Reni,  Guido  42 

Riciarelli  40 

Robbia,  della  81 

Romano  38 

Rovezzano  83 

Rubens  45 

Ruisdael,  Jacob  58 

Rnisdael,  Salomon  49 

Sacchi  43 

Sacred  and  Profane  Love  ( Titian)  27 

Sanzio,  Raphael  31 

Saskia  (Rembrandt)  54 

Sarto,  Andrea  del  36 

School  of  Athens  (Raphael)  32 

Sesto,  Cesare  24 

Settignano  82 

Sibyl  (Raphael)  34-35 

Sistine  Ceiling  (Angelo)  25 

Sistine  Madonna  (Raphael)  32 

Snyders,  F  47 

Sortie  of  the  Banning  Cock  Company  . .  (Rembrandt)  55 

Sodoma  26 

Spanish  School  64 

Steen,  Jan  58 

Susterman  46 

Teniers  48 

Terburg  57 

Titian  26 

Tintoretto  40 

Tomb  of  Medici  (Angelo)  25 

Turini  43 

Unknown  Italian  Artists  43 

Voga  38 

Van  Dyck  47 

Van  Eyck  44 

Van  Ley  den  48 

Van  Loo  73 

Van  Ryn  49 

Van  de  Velde  59 

Vecchio  30 

Vecelli  26 

Velasquez  64 


WESTERN  GALLERY  OF  ART,  KANSAS  CITY,  MO. 


91 


Venus  de  Milo  78 

"    de  Medici  80 

Verrocchio  13 

"   82 

Verelst  58 

Veronese  40 

Victory  77 

Vinci  20 

*  *    Portrait  of  ( Vinci)  21 

Watteau  72 


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